Certificate in Visual Arts | 2020
Table of Contents ARTIST
PAGE
Unit Coordinator’s Remarks
1
Nemai Ali
4
Ariela Alleyne
9
Saniyah Bedeshi
14
Bindhi Colai
19
Sharon-Rose Jattan
24
Justine Lai King
29
Leonard Lewis
34
Joseann Modeste
39
Rajesh Tilkaran
44
NOTE: Work in this catalogue reflects various image making approaches including drawing, painting and photography. Students also produced sculptural pieces designed for outdoor installation and public engagement. However, the Covid-19 pandemic context curtailed efforts to create large-scale, outdoor, three-dimensional work. Instead, students made smaller sculptures, which they installed within their homes or backyards.
Art Connects Us In the span of a few weeks, our world has changed. All feels upended. The novel coronavirus pandemic has forced us to rethink much of the way we operate. Furthermore, the recent killing of black men and women in the U.S. has triggered global dissent against racial injustice and intensified a centuries-old cry for structural reforms. This is a time of deep reflection as we consider what it means to be human – indeed as we make a case around the world for being humane. We are refocusing our needs and seeking the means to meet them. Where does art fit in? Thinking about this moment, Darragh Hogan, Director of Kerlin Gallery in Dublin Ireland observes: “The need for connection and communication is amplified now, art has a vital role in meeting that.” Art has a significant function in bridging the spaces between us – those gaps created as we adhere to new social distancing protocols – and in helping us navigate the inner landscape of our mixed emotions. Art offers a language when we are overwhelmed and there are no words. This is the foundational understanding of art that we nurture at the
Marsha Pearce, PhD
Visual Arts Certificate programme at the UWI
Lecturer and Visual Arts Unit Coordinator
Department of Creative and Festival Arts. The work in this catalogue demonstrates our Certificate students’ efforts
The cover of this catalogue features a painting titled “The
in a language; their knowledge of the fundamentals of a
Crowd” by Leonard Lewis. The work evokes a heat and
particular communicative form.
energy reminiscent of recent images flooding our
1
television screens and social media feeds: people en
Justine Lai King’s drawing of a domestic interior is
masse in the streets, risking their lives to lend their bodies
reminiscent of recent lockdown orders. For some of us, our
and voices to the fight against violence, inequality and
homes have been a refuge in the pandemic battle. Yet, for
oppression. The painting is not a literal representation but
others, the home has been a traumatic space of
rather a careful use of colour and gesture to suggest
confinement. Bindhi Colai captures some of this pain in
movement and feeling.
her piece “Crestfallen Soul.” The figure in the composition bends in agony. The colour blue is used symbolically to
Other work by Lewis reflect on this pandemic age.
suggest a human psyche weighted by sorrow or “the
The piece “The New Normal” features two human figures
blues.”
with masked faces. Each person is turned away from the other as they direct their gaze at their mobile phones. This
Undoubtedly, this challenging time is impacting mental
is a visual commentary on physical and virtual interactions
health. Many of us are struggling to keep our spirits
in what is now a daily, overt masquerade.
buoyed up. In our search for sources of comfort, the natural world is a remedy.
2
Outdoor views by Ariela Alleyne, Saniyah Bedeshi,
I am grateful for the work done by these students. I also
Sharon-Rose Jattan, Joseann Modeste and Rajesh Tilkaran
extend appreciation to my colleagues; the lecturers in the
expand horizons beyond our doorsteps. Images of flora
Certificate in Visual Arts programme who continue to give
and fauna – Alleyne’s heliconias and Tilkaran’s scarlet ibis,
their best to the teaching and learning process: Tessa
for example – are reminders that there is life abundant all
Alexander, Michelle Boyd, David Cave, Jemima Charles,
around us.
Allana Harley, Alex Kelly, Adiel Mahajan, Azeem Rahaman, Laurence Richardson, Rachel Rochford, Shalini
It is said the only constant in life is change. We are in an
Singh and Adele Todd.
incredibly dynamic moment, where all is in rapid flux.
Congratulations to the class of 2020 on reaching this
Nemai Ali’s painting titled “Transformation” (see pg. 6) is
milestone!
an apt rendering of a reality in motion. His vibrant, curvilinear lines move in defiance of static, vertical and horizontal forms. Ali’s work gives us the visual syntax for articulating our current experiences. It is a picture that
References Wullschläger, Jackie. “How Contemporary Art is Changing in the Covid-19 Era,” Financial Times, April 20, 2020. Retrieved on June 9, 2020 from https://www.ft.com/content/25e1fc74-7fdf-11ea-8fdb-7ec06edeef84
connects us.
3
Nemai Ali The artwork I have created is inspired by nature. This influence has been an unconscious part of my work. Only recently I noticed its continuous presence in my art. I am drawn to natural, free-flowing forms, shapes and lines. This fluidity helps me stay open to various styles of image making – my approach is not limited to realistic portrayals. I aim to capture details while learning to observe and understand any subject matter. My creative process involves a marriage and overlapping of assorted linework, textures and shapes. I allow the paint to naturally blend and mix together. With the incorporation of different colour palettes and geometric elements, I would like the viewer to be captivated, and be able to connect through emotion, to my artwork. At this point in my journey as an artist, I feel a sense of freedom in my creative intentions.
4
Nemai Ali
Departed 28 inches x 29 inches | Water based paint on board | 2020
5
Nemai Ali
Milky Way
Transformation
32 inches x 12 inches | Water based paint on board | 2020
62 inches x 15 inches | Water based paint on board | 2020
6
Nemai Ali
For my drawings, I chose “sporting events” as my theme because sports have been a great part of my physical and spiritual growth. For example, I have been involved in karate and mixed martial arts (MMA) for 10 years. Over that time period, these sporting activities have shaped my personal development. Mixed martial arts taught me a lot about respect and discipline. In my artwork I aim to capture the emotions of everyday life. I like to draw the human figure because I feel it is a subject matter that can always be appreciated. Sports is an area in which one shares a relationship with their body and spirit – this is what I want to depict.
7
Nemai Ali
2-D Sketches & 3-D Work Self Portrait & Hand Gestures | Outdoor Sculptural Installation “ MASK OFF"
8
Ariela Alleyne Through colour choices, all of my paintings carry a vibrancy. I rely on my imagination and inspiration from nature. My art making process involves experimenting with abstract painting techniques. Each image represents a different memory, meaning or feeling I have experienced over the span of my life.
9
Ariela Alleyne
Energy of the Crab Acrylic on board | 30 inches x 60 inches | 2020
10
Ariela Alleyne
Poui
Swamp Valley
Acrylic on canvas | 18 inches x 24 inches | 2020
Acrylic on canvas | 18 inches x 24 inches | 2020
11
Ariela Alleyne
12
Ariela Alleyne
3-D Work Outdoor Sculptural Installation “POLLUTION FOUNTAIN"
13
Saniyah Bedeshi When creating my work, I start by asking the following questions: What is the message I want to put into the world? What do I want to tell people? What do I want to say to myself? As a young artist, self-discovery is a priority for me. Through my work, I like to tell stories based on my life experiences. I use my photographic compositions to tell people they are not alone. We should all be allowed to express who we are. The piece “Makeup Doesn’t Make the Man” depicts how society has locked young men in a cage of masculinity. Why is it a male who wears makeup can’t be heterosexual? Why is it that a man who takes good care of himself is categorized as feminine? In my work, everything plays a part in telling my stories: from colour schemes to techniques, and even tangible materials. The work entitled “Stuck” represents being caught between mental and physical growth. It is a three-dimensional figure with a head and body. The flowers on the body are golden and in full bloom, which shows physical growth. In contrast, flower buds are placed on the head to show the mind is still young. The figure’s pose depicts how someone who hasn’t bloomed yet mentally can be battling with themselves even though they have matured physically. I have been in this place before. Yet, with time, patience and constant nourishment, one’s mental “flower” can bloom.
14
Saniyah Bedeshi
Makeup doesn’t make the man Photography | 2020
15
Saniyah Bedeshi
Stuck
Plants have hands
Newspaper, spray paint, plastic, wire & tape 36 inches | 2020
Photography | 2020
16
Saniyah Bedeshi
TRINI ROSE
JUMP UP AND KISS ME
DELICATE BLOOM
18 x 24 | Charcoal
18 x 24 | Colored pencil and oil pastel
18 x 24 | Graphite pencil and Charcoal
AMONG THE ROCKS
SIDEWAYS GLANCE
18 x 24 | Colored pencil and Chalk pastel
18 x 24 | Colored pencil and Chalk pastel
17
Saniyah Bedeshi
2-D Sketches & 3-D Work Self Portrait | Outdoor Sculptural Installation “TWIN FLAME ENERGY”
18
Bindhi Colai These paintings are symbolic of my passion for my religion, culture and my advocacy for mental health. Multiple colours are used in my artwork to express my passion for these aspects of my life. The detailing and layering in my paintings are representative of the richness of my heritage.
19
Bindhi Colai
Buddha In Eternal Peace Acrylic on canvas | 28 inches x 33 inches | 2020
20
Bindhi Colai
Crestfallen Soul Acrylic on plywood | 72 inches x 48 inches | 2020
Fire, Earth, Water Acrylic on canvas | 27 inches x 25 inches | 2020
21
Bindhi Colai
22
Bindhi Colai
3-D Work Self Portrait & Hand Gestures | Outdoor Sculptural Installation “VIOLENCE in SCHOOLS”
23
Sharon-Rose Jattan I enjoy putting my twist on known abstract techniques. This gives me a sense of freedom in the creative process. My paintings involve varied brushstrokes, blowing, scraping, splattering and dabbing. The painting “Psycho” is an exploration of my psyche. I started with the Dutch Pour technique in a spiral design, which gave a tie-dye effect and then I added the splatter of white and black to give contrast. The piece titled “Tree” is an abstract representation. Dabbing and pouring techniques were used to create it. Photography is also one of my passions. Capturing a moment, event or a scenic view has always brought me joy. My photographs reference cultural and historic scenes around Trinidad and Tobago. The “Dragon” photograph portrays a discarded carnival costume from a Trinidad Dragon band.
24
Sharon-Rose Jattan
Psycho Oil paint on plywood | 42 inches x 42 inches | 2020
25
Sharon-Rose Jattan
Dragon Black & white photograph | 2020
Tree Oil paint on canvas | 18 inches x 24 inches | 2020
26
Sharon-Rose Jattan
27
Sharon-Rose Jattan
2-D Sketches & 3-D Work Self Portrait | Outdoor Sculptural Installation “TICK TOCK”
28
Justine Lai King This body of work consists of surface design pieces and a 2D wet medium piece. Euro and Essential, both share an experimental quality where the use of one unit mediums, staples and thread, are repeated to form an artwork. The idea for these pieces stemmed from my interest in stippling art. The continuous motion of making hundreds and hundreds of dots to form an image is a somewhat therapeutic practice. Hence, I decided to experiment with other mediums that present a similar experience.
I am interested in elements of the Japanese culture. I am also drawn to weird and strange artwork. Art that makes the viewer uneasy or uncomfortable and provokes thought. Oni Mask painting is a fusion of elements from the Japanese culture and elements from Trinidad and Tobago’s Carnival Arts such as Dragon and Devil Mas.
29
Justine Lai King
Oni Mask Acrylic on watercolour paper | 18 inches x 24 inches | 2020
30
Justine Lai King
Essential
Euro
Nail and thread on plywood | 36 inches x 36 inches | 2020
Staples on plywood | 36 inches x 36 inches | 2020
31
Justine Lai King
32
Justine Lai King
3-D Work Self Portrait & Hand Gestures | Outdoor Sculptural Installation “CRAPAUD SMOKE yuh PIPE "
33
Leonard Lewis I believe the various approaches I take in my art making should resonate with people of different ages, gender, religion and economic status. At this time, the world is facing the COVID-19 pandemic, with a huge impact on lives. I decided to focus my art on this theme. My piece “Impacts of Social Isolation” displays the emotional challenges persons have/are experiencing during this unprecedented time. “The New Normal” demonstrates what seems to be our new world while we navigate what is left of our daily lives through the windows of our devices. Those who follow the crowd can get lost in it, but if you must get lost in any crowd during this global pandemic, lose yourself in the vibrancy of my painting “Crowd.”
34
Leonard Lewis
Impacts of Social Isolation Charcoal, acrylic paint, Spray paint, newspapers, candle soot on canvas | 36 inches x 24 inches | 2020
35
Leonard Lewis
The Crowd Acrylic on canvas | 31 inches x 24 inches | 2020
The New Normal Charcoal, acrylic paint, Spray paint, newspapers, candle soot on canvas | 36 inches x 24 inches 2020
36
Leonard Lewis
37
Leonard Lewis
2-D Sketches & 3-D Work Self Portrait & Hand Gestures | Outdoor Sculptural Installation “THE INVASION”
38
Joseann Modeste When creating art I like to capture the different parts of the human anatomy through sculptures. This helps to create a visual representation of the issues that I am highlighting. I express these ideas with the medium Alginate, by encapsulating the intrinsic details of the human body and displaying the art in its most realistic form, this is my main purpose when I create.
“The sleeping man sleeps through life with little expectation for his future, his perspective of the world is set in black and white with no gray areas he is encapsulated within his own mind.” THE SLEEPING MAN “As she looked at herself in the mirror all she could see is a withered, frail representation of herself. As simple as it is, all she needed to do was eat, but eating became a task – small subtle cries for help, but no one could hear her since she only spoke to the voices in her head.” ANOREXIA “As the disease progressively ate away one part of my breast, I knew I had to fight, I had to win this battle... I won the war instead – Cancer Survivor” THE UNKNOWN
39
Joseann Modeste
Sleeping Man Sodium alginate, pre plastered bandages, acrylic paint on board | 18 inches x 24 inches | 2020
40
Joseann Modeste
Unknown
Anorexia
Pre plastered bandages | 45 inches x 25 inches | 2020
Sodium alginate, pre plastered bandages, tape measure, ring 42 inches x 22 inches | 2020
41
Joseann Modeste
42
Joseann Modeste
2-D Sketches & 3-D Work Outdoor Sculptural Installation "HOPE "
43
Rajesh Tilkaran Ever since losing sight in one of my eyes over a decade ago, I began to look at art in a different way. I believe this has made my artwork stronger. My preferred style is realism. Most of my artwork consists of portraiture, with an intent to capture expressions, personalities and even the mood of the person. I use traditional graphite shading techniques and incorporate a modern touch with pop art and monochromatic styles. I welcome challenges. Different methods or approaches cause me to devote much time to my art practice and apply extra effort. I can’t see the entire world, but I express what I do see: My world.
44
Rajesh Tilkaran
Emma Graphite on paper | 18 inches x 24 inches | 2020
45
Rajesh Tilkaran
Mr. Tilkaran
Sharon
Prosthetic & graphite on paper | 18 inches x 24 inches | 2020
Acrylic on canvas | 18 inches x 24 inches | 2020
46
Rajesh Tilkaran
47
Rajesh Tilkaran
2-D Sketches & 3-D Work Self Portrait & Hand Gestures | Outdoor Sculptural Installation “BATTLE: GOOD vs. EVIL"
48
