(un)seen: 2021 DCFA Visual Arts Degree Exhibition Catalogue by DCFAVisualArts

TABLE OF CONTENTS 01

WORD FROM VISUAL ARTS UNIT COORDINATOR

FINE ART

DESIGN

ARTICULATING THE (UN)SEEN Marsha Pearce, PhD Lecturer and Visual Arts Unit Coordinator In our responses to the COVID-19 pandemic we have had to shelter in place, quarantine and exist in lockdown. Staying inside has become a critical tactic for our collective survival. Yet, that inward turn has not only meant a physical shifting of self but also an introspective move – a motion to the often-veiled parts of who we are; those unseen recesses of our minds and spirits with the capacity to both propel and impede us. It is these inner spaces that the 2021 cohort of final-year, visual arts degree students excavate with their creative practices. The works presented in this catalogue mark their efforts to attend to the imperceptible, the unnoticed, the hidden in their personal experiences, and to bring them into material visibility. Through a range of media, the students translate mental states of being and emotional domains into tangible, expressive form – demonstrating their skills in navigating and articulating gestures between the unseen and the seen. The overarching title of this artistic presentation: “(un)seen,” therefore speaks to this focus on bringing into sight that which is important for us to examine, in a time when our world and humankind feel poised for a remaking. For the design student, that may be an overlooked problem. For the fine arts student, it may be a questioning of memory, anxieties, and a sense of self. Together, these students offer images of self-assessment and self-documentation at a pivotal, global moment.

03 ALEXANDRIA BOBB

KRYSTEN REID

04 ANASTASIA ALEXANDER

MARIE-LOUISE BELMAR

06 ARIEL BAPTISTE

MICHAELA REGIS

10 ATHALIAH MOHAN

RANNIE BEDESSIE

CHELSEA AMMON

REANNAH SEALES

CORI ANN CHIN

ROHEIM LESLIE

17 DELENE GREAUX-GRANGER 35

SADE EAILEY

20 FAITH RAMLAL

SHALISE THOMAS

23 KAJAL MADHO

SHIREEN RAGOOBIR

25 KEVON WEEKES

SHIRVAUGHN SIMMONS

ALEXANDRIA BOBB

https://www.instagram.com/alexart.tt/

In a general sense, my artwork is moulded by the relationship I have developed with my physical self, due to my experience of being an athlete. Having engaged in art making through this lens, I came to the general conclusion that characteristics of the human experience such as mental health, stress or grief can be manifested through the body, and physical symptoms do not solely indicate physical illness. My compositions seek to personally relate to my audience through something that we all have in common, the skin. These untitled works are a portrayal of my experience in the pandemic period which for many meant the development of overwhelming feelings of anxiety, depression, and the exacerbation of existing issues. In the midst of this crisis, I battled depression and anxiety which manifested itself physically through my pre-existing skin conditions Seborrheic dermatitis and Vitiligo. Despite having manifestations of mental distress through both conditions, Seborrheic dermatitis flare ups, with proper care can disappear hence the reason vitiligo took centre stage due to its permanence. Upon noticing the spread of vitiligo, after nine years of ignoring it, I now had to unpack the negative feelings I have towards my condition and address the questions I have had. This meant researching the implications of stress and vitiligo and exorcising negative emotions and thoughts through my art making process. These pieces are a product of a photographic documentation of the skin in the midst of my distress. Two of these images of my vitiligo were then used for developing my composition through Photoshop, which became an outlet to delve into exorcising emotions triggered by its spread as well as my anxiety and depression, both catalysts to said manifestations on the skin. These emotions are apparent in the distortion of the images and the addition of colour in a subtle attempt to voice my displeasure with the existence of vitiligo on my skin and the innate desire to 'decorate to distract.'

Untitled 1

Untitled 2

Photography | 2021

ANASTASIA ALEXANDER

https://stylze43.wixsite.com/anastasiaalexander

I am a painter interested in exploring extreme escapism through fantasy; the notion of disconnecting with reality. I use narratives to investigate questions on reality and what it means. As part of that interest, I explore my challenges with dyslexia and bring words into my paintings on canvas in imaginative ways. I work with phonetics and sounds of language and translate them for my understanding. I also use images and symbols to represent how I visualize words or sentences. I found this to be a very effective tool for learning since childhood. My struggle with words informs my art and allows me to ask questions and express my ideas through narrative, whether they are readable or not. The text indicates a further disconnection with the real world. I use surrealism in my paintings to create the ‘fantastical’ world of the emotional state of mind of the protagonist. Our world is not so different from the fantasy worlds I make on canvas. Surrealistic imagery is depictive of life because they contain feelings and emotions that resonate with the viewers. My inspiration stems from my experiences with disconnection, and the works of many philosophers, like René Magritte. They helped me understand that an examined life is worth exploring. Therefore, I channel this mindset into my practice.

Blurred Lines of Self, Leads Corpse to its First Steps Acrylic paint on canvas | 35 x 39 in | 2021

Am I Delusional? Mixed media | 48 x 90 in | 2021

ARIEL BAPTISTE

https://www.instagram.com/tv/CO1O0F1CCFu/?utm_source=ig_web_copy_link

I am a mixed media artist whose work consists of large-scale pieces which investigate being a woman, in a world where men believe themselves to have power over my body. They illustrate that I am not ashamed or afraid of the beauty and strength that is exerted when I take control of the many layers of my sexuality. My work demonstrates the healing potential of nude art, by empowering and inspiring numerous women of different races and social standings, to appreciate all that their bodies can do for them. This body of work is a representation of me choosing myself and loving myself exactly as I am; faults and all. It took me years, most of my adult life to make this decision and I have never regretted it since. Within my practice recently and in going forward, I will focus on the many ways in which I see myself and not how others choose to see me. Therefore, to leave my impression on society, my artistic body of work explores the phenomenon of nude painting. Via the use of my body, whilst employing an expressive palette of over three pigments at a time, I experiment with the different meanings of my sexuality challenging myself and other women to destroy the patriarchal standards of validation and beauty enforced on us by society. My artwork displays different iconographic representations of the female body, via the use of vibrant mediums like acrylic paints, chalk pastels, coloured pencils and other materials that assist in bringing my theme to life. My art is constantly being reused, to heal myself and other women who refuse to let the unfortunate circumstances, throughout their lives, stop them from loving themselves. All of my works are the truest representations of me and all of the realizations that I have made along the way. It portrays these virtues, by being a visual representation, of how nudity can be a catalyst that causes higher levels of self-love, whilst stimulating questions about female beauty and beauty standards. As a black woman, I celebrate my body in its nude form, for all the beauty it holds and all the strength it bestows upon me, and this body of work is a celebration of these facts. My art is free of all shackles of bondage society has designed to keep me in a box. It is a message to anyone who may try to convince me that I should be defined by their ideals and beliefs. I trust and appreciate myself and acknowledge my worth because I am the builder of my self-esteem and do not fit into anyone’s mould of who I should be. I am now better able to take a closer look at myself innovating many of the perceptions I created about my unclothed body. Each of my pieces accurately represents a woman who is aware of her courage and uses it to be nothing but her truest self. They depict a woman who is not afraid of her power as she knows the impact she has on the people that make assumptions about her. She is undeterred and stands her ground, as her demeanour is one that boldly faces her naysayers as they come. I am Ariel Baptiste, and I am a phenomenal woman who will never dull my light and never stop loving myself. This is an ongoing celebration of myself and all that I am.

From Me to You Acrylic paint, chalk pastel and fabric | 19.6 x 23.6 in | 2021

To Be Bold and Beautiful Acrylic paint, kite paper and iridescent foil 23.5 x 31.5 in | 2021

I Know Who I Am Acrylic paint, colored pencil and chalk pastels 23.5 x 35 in | 2021

The Celebration of Her Life Acrylic paint, chalk pastel, glitter, iridescent foil 23.5 x 31.5 in | 2021

ATHALIAH MOHAN

https://www.instagram.com/p/CPj1VMPrduq/

My current practice explores motherhood, with inspiration being drawn from my own personal experience as a young, single mother. I have allowed myself to use my memories of pregnancy, childbirth and postpartum experience to influence my art making. My latest body of work gives insights into my raw experience which I have decided to take, embrace and allow it take shape as two works of art respectively. It is my aim to change taboo clichés and stigmas associated with the term ‘single mother’, and give insights into my journey back to self-love after confronting my postpartum body. In my installation, Milk and Memories, it focuses on my life as a single mother. Considering that there is a stigma attached to young single mothers, it is my aim to fight against this as I have continued to push forward, continued my education; worked and did everything necessary to take care of my daughter. I want this work to represent my efforts as a mother; a maker of memories and moments shared with my child. Having kept a documentation of visits made by my child’s father since our legal custody and visitation order has been finalised, this installation comprises of 54 milk storage bags spanning from February 15th 2020 to February 20th 2021 (approximately one year). Each bag represents all the Saturdays for the period documented, which are legally his ‘access and visitation’ days. As a mother, I never want my child to feel as if she is lacking or missing anything or anyone, and thus, on each day, we created a memory. Within most of the milk storage bags, there holds an image as well as a found or created item, associated with the memory of that day, or my memory of the day; without her. In the installation, there are two bags that contain my actual breast milk which represent my only memory of the days she spent away from me. As a single mother, having spent all my time taking care of my child, being away from her for even a day is a challenge and therefore, the only memory I have for the two days she was not in my care, are milk bags containing the ‘memory of pumped breast milk that never reached her lips’. Milk and Memories, consists of each object individually attached to the wall using gold thumb tacks, as a play on ‘milk being liquid gold being held up by gold tacks’. It takes up the space of an entire wall. Installed on a wall, five rows down, approximately 4ft down, and 14ft across, four rows consists of 12 bags, while the last row consists of 6 bags respectively. This was done to give emphasis to the fact that this legal visitation access still stands and my documentation of my memories created on those days with our without my daughter continues. In a Series of Raw Study-Sketches of my Postpartum Body, 15 drawings of various angles of my postpartum body were done. As a young woman, my pre-pregnancy body and skin was very different from my postpartum body. Having become a young undergraduate mother, facing infidelity in my (now previous) relationship to then encountering the unexpected twist of becoming a single mother, it was a challenge to love myself and my physical appearance for some time. As a part of my journey back to self-love and self-discovery, creating raw detailed drawings of my actual postpartum body was one way to explore my new life and bodily changes. Having drawings of different sizes, with varying amounts of detail, is my attempt to admire my own strengths, changes and beauty. One of my aims as an artist would be to shed light on the beauty of postpartum bodies and help women love themselves again. This work was displayed on three walls as I believe it would be impactful if each drawing was appreciated individually. In both Milk and Memories, and Series of Raw Study-sketches of my Postpartum Body, it is my intention as an artist that my viewing audience can gain insight into the experience of single motherhood and the beauty and strength of postpartum bodies in a manner which can be beneficial and maybe alter their perspectives on the topic. A note to any single mother viewing my work: You are strong, You can do this on your own even if you didn’t plan to do it alone, You got this! Your body is beautiful, A single mom is a strong mom.

Milk and Memories Breastmilk, Images, Milk bags, Assorted items | 14 x 4 ft | 2021

CLOSE UPS OF MILK BAGS

Series of Raw Study-Sketches of My Postpartum Body Charcoal and Graphite on paper Various sizes: 4 x 6 in , 11 x 14 in | 2021

CHELSEA AMMON

https://www.instagram.com/ammonut.art/

i decided to research the topic of non-physical domestic abuse. This was inspired by the experiences of someone close to me, so I was affected as well and I wanted to understand the pressing questions of “why” and “how” and if this was a bigger issue rather an isolated incident. For these reasons, I decided to research the topic of non-physical domestic abuse with an emphasis on the mundane ways it manifests itself. My research led me down many avenues, including the likes of a BBC report where a victim did not even realize that she was abused due to its non-physical nature. It helped to answer the “whys” as my research showed that these types of abusers crave control and power, so they prey on the weak. It also helped to explain the “hows” as many mundane manifestations were found, many of which involved financial manipulations and the victims’ houses in various states of disrepair. The research confirmed that this type of abuse is a global issue that is on the rise. It instilled a sense of urgency in me to create this body of work more than ever as Art speaks in ways words cannot. My work focuses on the unnoticed abuse in front of us through a deep dive into the mundane ways non-physical domestic abuse manifests itself. It delves into the relationship between the abuser and victim and the implications of it. It is being presented via the use of thermal art to convey the levels of disconnection in the relationship, different thicknesses of colour-coded string to show a physical connection and utilising colour theory to get my message across. My pieces use fiery reds, yellows and oranges signifying a loving and close connection to the abuser; for in the mind of these types of victims, the abuser is the sole focus. I use blues to show how every other aspect of the victim’s life has become disjointed and distant, even the victim’s own sense of self becomes lost. It is my hope that the inconspicuous ways that non-physical domestic abuse are manifested are more readily recognised and understood as silent cries for help.

Degrees of Disconnect Digital art | 2021

Degrees of Disconnect, Part 1 Digital art | 2021

Degrees of Disconnect, Part 2 Digital art | 2021

Degrees of Disconnect, Part 3

Degrees of Disconnect, Part 4

Digital art | 2021

Degrees of Disconnect, Part 5

Degrees of Disconnect, Part 6

Digital art | 2021

CORI ANN CHIN My artistic practice is competing for space amid the many events, ideas, emotions and struggles of day to day life which have been growing and changing as I also grow and change, along with the rapidly changing social and political climate of the country and our world. As such, I decided to go with the grain rather than against it, and make art based on the very issues that have been consuming my thoughts and challenging my art practice. Ideas about change and social justice, freedom and escape. A new era for individuals who have been labelled as second class citizens i.e. Black and brown people, women, gender, race and sexual minorities, the disabled, the poor. Ironically, the 1% is considered the majority while the real majority, brown, working class, poor people are considered an inconvenient minority. The narrative is switched to portray us as the drain on society, rather than the rich whose wealth continues to grow and stagnate. In my art practice, I use the concept of Afrofuturism to portray the idea that Caribbean people can exist in a better future. We can wield the future and make it our own, and decolonise our minds and our spaces. Value is also a leading concept in my work as the price tags, collected from my place of work, symbolize the synthetic and arbitrary value system we hold which places the material above human life and well-being. For this body of work I drew inspiration from the evolving social justice and humanist movement, namely the work of Karl Marx and Wangechi Mutu. I incorporate mixed media such as found objects. Some of the found objects I have used are different types of paper, metallic objects like foil or safety pins and recycled objects. I also delve into 3D art and sculpture.

Smash the Cistern Recycled materials | 27 x 41 in | 2021

Untold Stories Found objects and recycled materials 31 x 22 in | 2021

World Tree Found objects and recycled materials 35 x 40 in | 2021

DELENE GREAUX-GRANGER

https://www.instagram.com/tv/CPJtItDg tD1/?utm_medium=copy_link

Deeply rooted within my spirit was the fear and anxiety associated with informing the public of my Single-Sided Deafness. Motivated by the life experiences consciously observed within my hectic schedules, I slowly conquered my fears and anxiety by using Action Painting to sensitise others through an artistic lens. I consider my work the product of a process of visual hearing. I navigate the world differently from those with normal hearing – often relying on touch and sight which gives me a different sensation of balance, lines, shapes and spaces. I address these differences in my work, exploring how traditional rules of composition can be broken as well as how the elements and principles of design lose their well-defined perspectives. My art practice reveals how the Single-Sided Deaf community manages daily life, adjusting and positioning themselves and objects in their space to create a sense of balance that is asymmetrical. Therefore items in everyday life are presented in odd shapes and lines, painted at the extreme circumstances. Despite the fact that I only hear in my right ear, the body of work I present also incorporates wind that is felt by both of my ears. The heightened sensation on my left ear not only balances out but, compensates for that which is heard in my right ear and influences the asymmetrical balance displayed within my work.

Fear

Uncertainty

Wind Against My Ear

Spray paint on clear plastic 6 x 3 ft | 2021

Anxiety Emulsion paint on paper 6 x 3 ft | 2021

https://www.instagram.com/tv/CPJqUg7AkcR/?utm_medium=copy_link

Wind On My Ear Spray paint on clear plastic | 16 x 2.5 ft | 2021

Distortion in Communication Emulsion paint on paper 4 x 2 ft | 2021

FAITH RAMLAL

https://faithecookies.wixsite.com/website

My art practice explores the intersection of Art and Illness, specifically my lifelong experiences with Type 1 Diabetes. In many societies, the idea of illness is a private affair; a secret that is heavily guarded for fear of ridicule. Therefore, my work aims to create a space of belonging. A space where persons like myself can freely exist. Considering the depth of this topic, I had to keep several factors in mind: should my practice step away from representational artwork and delve into abstraction? Or should diabetic materials be substituted in the work instead of traditional materials such as, paint and pastel? Or, considering the age demographic of this illness, should my practice aim to spread awareness using graphic or highly illustrative work? If so, should my practice offer an unconventional way of portraying chronic illness using bright and stimulating colour schemes? Inspired by both conceptual artist Damien Hirst and local artist, Donald ‘Jackie’ Hinkson, I decided to use acrylic paint as my preferred medium. In an interview, Hirst perpetuated that to diminish the general apprehension towards his chosen themes of Life and Death, he decided to incrementally introduce these themes in his work through various objects and symbolism. In consideration of the limited awareness surrounding Type 1 Diabetes and the public consciousness, I wanted to create a body of work wherein the concept of Type 1 Diabetes and the associated treatments could be addressed in a form that was relatable to my audience. However, the influx of medical instruments may have been disorienting to viewers and as such the core purpose of the artwork would have been lost. Hence, I had to create a work that both addressed a sensitive topic while being visually palatable. Upon examining the works of Donald ‘Jackie’ Hinkson, I observed that he incorporates scenes that are largely familiar to the civilians such as, the local beaches, architecture and foliage. These are objects that persons can easily identify with and as such, his work evokes a strong sense of nostalgia. Hence, I made the decision to use landscapes experienced from my childhood such as, that of a playpark or a school. By manipulating the scale of the diabetic instruments used in diabetic care, I subtly included them against an idyllic landscape. In doing so, I make a connection between my condition and how I approach regular life. These instruments include: my blood glucose monitor, my test strip bottle, and insulin vials etcetera. In my practice, I rely on the technical proficiency of my composition to emphasise my focal point. Hence, instead of alluding to diabetic iconography, my work is more literal. The replacement of mundane objects with diabetic instruments forces the audience to take a second look at the painting. It causes them to deconstruct the layers of work within the composition. The work was completed by painting the composition from the top down, pencilling objects of interest before filling them with blocks of colour. Once the base colour was placed, a linear brush was used to refine core objects. To create visual interest, there was varying line density throughout the work. My work primarily uses acrylic paint on stretched canvas. However, watercolour and gouache were used as a secondary media to create greater tonal depth and directional lighting. These compositions are approximately 20’ x 24’ and 24’ x 24’ inches on canvas.

A Diabetic’s Playground Acrylic paint on canvas 20 x 24 in | 2021

Diabetes in a Cone Acrylic paint on canvas 24 x 24 in | 2021

Hyperglycemia Acrylic paint on canvas 24 x 24 in | 2021

Looking Out, Kept In Acrylic and watercolor paint on canvas 20 x 24 in | 2021

KAJAL MADHO

https://www.instagram.com/kajalmadhoartist/

My artwork is an ongoing exploration aimed to address the concept of identity construction while using inanimate objects and materials as an extension of myself. I work in the traditions of conceptual sculptures and installations, utilising traditional, non-traditional and discarded materials to reconcile notions of my body in flesh as an object and an object as my body bearing likeness to my life experiences. In exploring the relationship between myself and common objects, I procure mundane materials based on personal resonance as I seek to transform them into a state of visibility, generating dialogue concerning identity construction and deconstruction, rooted in the notion of feeling discarded. My art aims to blur the division between my life and my work since giving enhanced meaning to discarded materials challenges preconceived notions of my identity and relates the materials’ transformation to my personal transformative process. Materially, the work has been a continued exploration of three-dimensional forms, utilizing mainly discarded objects such as murtis (Hindu figurines), beads, steel, abheer powder and styrofoam to explore the dialogue conceptually. I combine textures and colours, earthy tones with bold, striking hues and ensure that I have an affinity with the chosen materials before utilising them. Ultimately, I intend to produce informative work that conveys and creates experiences.

Yoni

Betiyon

Mixed media 12 inch diameter | 2021

Found objects and abeer 8 x 4 in | 2021

FRONT VIEW OF Tudaka Found objects, concrete, hand-made kajal 3 x 1.5 ft | 2021

BACK VIEW

KEVON WEEKES

https://www.instagram.com/dartistweekes/

My art has evolved over time into a collection of drawings, paintings, and mixed-media creations. The human body and the environment have always piqued my interest. As a result, my work primarily consists of portrait drawings, figurative drawings and paintings, landscape paintings, and other still life creations. My observation of people and their expressions, movements, gestures and the way they interact with their surroundings has always been a key influence in my practice. Acrylic paints, charcoal, graphite, ink, recycled materials, and other materials are all commonly used in my artworks. My preferred surfaces of choice include stretched canvas, grey board, drawing paper of various weight, cardboard, stag blank and fabric. I am quite comfortable using these materials as they all work well and can be easily manipulated in order to create the most suitable/desired texture. Through the use of various drawing and painting techniques such as blending, shading and washing I am able to achieve different values and textures. Although I am exploring the use of larger surfaces, currently, my projects are created within an 8 x 6 inch to 30 x 40inch scale range. Lately, my fascination with the human body and its anatomy, as well as personal struggles with depression and anxiety, have fueled my interest into a further understanding of the mind-body connection. As a result, this investigation has since informed my practice as an artist as I began exploring connections between mental illnesses, (namely Depression and Anxiety Disorder) and identity. Therefore, the works that I produced based on such research addresses issues relating to identity crisis, alienation and low self-esteem.

Insomnia Acrylic paint and graphite on paper | 8 x 11 in | 2021

The Onset Charcoal and graphite on grey board 20 x 26 in | 2021

Coping Acrylic paint and graphite on canvas 8 x 11 in | 2021

KRYSTEN REID

https://krystt1994.wixsite.com/website

My work is a series of drawings where I use my feet as a tool for mark making on paper. This work is important to me because it is a representation of growth in my art practice. Additionally, it explores the relationship between my visual arts and dance practices. Dance for me is therapeutic and allows me to be very expressive similarly to the making of my art. I explored translating my dancing into something tangible, like an artefact that shows the results of my movement in space. I was inspired by the work of artist Heather Hansen. My practice includes covering my feet with charcoal and starting at one point of the paper and dancing until I no longer see my footprint coming off. I continuously do this beginning at that same point utilizing a number of movements such as walking, spinning, dragging, hopping, sweeping, running, and tip-toeing, which all create different impressions of my feet. During this process, I play music and record the lower half of myself so viewers can see the movements used to transform the blank paper into an accumulation of footprints which can be interpreted in a number of ways.

Change Charcoal on brown paper | 66 x 30 in | 2021

Mirror Charcoal on brown paper | 72 x 30 in | 2021

Pouring Charcoal on brown paper | 36 x 30 in | 2021

Insurgence

Transcend

Charcoal on brown paper | 79 x 59 in | 2021

Charcoal on brown paper | 102 x 30 in | 2021

MARIE-LOUISE BELMAR The deaths of my close family members, due to different circumstances informed these works. The place I called home, is now where my family value of 'staying together and praying together' feels broken. My installation artwork is therefore about piecing together. I combine room furniture into one whole, creating shrines and conversations. I manipulated ‘space’ occupied by personal objects found in the home, such as kitchen dishes, twine and religious ornaments to describe the religious values and the emptiness of my definition of the place that was once called ‘Home’.

Untitled Household items | 7 x 4 x 4 ft | 2021

MICHAELA REGIS My practice is one of constant introspection and self-analysis. In a time of fast-paced everything I find it necessary to take a step back and have a moment of stillness. How I navigate different spaces, both physical and metaphysical, and their effect on my sense of peace, is explored in my work. Through the use of mainly acrylic paints and yarn, the dichotomy of the calm and chaos of everyday life with regards to womanhood is investigated. Caribbean women are the main feature of my work; each one I paint acts as an extension of myself and functions as vessels of inner exploration. I find much inspiration from the women in my life, particularly my mother, who maintains an outward composure despite inner conflicts. This is shown in my work through the women I paint; stoic and pensive amidst elements of nature, particularly bodies of water which is a recurring motif, representing the ebb and flow between states of tranquillity and disarray. My current body of work, while still centred on women, is focused on the idea of a “good life”, utilizing yarn as my medium of expression. It is still very much introspective work dealing with my own issues of possible infertility all the while exploring the linkages between childbearing as a part of womanhood.

BACK VIEW

SIDE VIEW Belly Bag 1 Yarn | 27.5 in circumference | 2021

BACK VIEW

SIDE VIEW

BACK VIEW

SIDE VIEW

Belly Bag 2 Yarn | 23 in circumference | 2021

Belly Bag 2 Yarn | 31 in circumference | 2021

RANNIE BEDESSIE

https://www.instagram.com/ranniebedessie_art/

My work is a series of mixed media self-portraits that represent my identity and personal growth. It investigates questions of who I am, my beliefs and the changes in my personality. To understand identity you must put all aspects of a person together. So, with my work, to understand it, all three pieces must be looked at and examined together,as no one piece works on its own. They come together to create a whole. I chose to create this work to help express myself and how others may see me, as it is sometimes hard for me to express myself. I used paper cuttings to construct these self-portraits. They are not supposed to depict how I look accurately but reveal my inner self and who I am. Creating these works about myself can be described as a form of self-documentation that I can share with others. My self-portraits are created with acrylic paint, cuttings of coloured paper to match the features of my face, and zentangle drawings done with a pen. Each colour and drawn element depicts both the seen and unseen aspects of my personality, my emotions, as well as, symbolizations of growth and change.

Centred

Limelight

Self

Mixed media | 20 x 26 in | 2021

REANNAH SEALES

https://www.instagram.com/dreamie.leche/

I draw shapes intuitively. Whether the picture is abstract or representative, I project how my brain views the world through art. Not literally, but just by the mere feeling. Being in quarantine allowed me to explore my character, answering questions about myself I have avoided all my life. Painting shapes, lines and characters without deeper thought helped express my emotions than doing so verbally. Genesis of Charmolypi is a result of a breakthrough of my own character, each stroke at a time. The process of coming up with the concept was emotionally charged and felt as though a large film was peeled off a hidden personality.

Genesis of Charmolypi Acrylic paint on paper | 2021

ROHEIM LESLIE

https://www.instagram.com/_artroh_/

My art style is fuelled by my interest in the shapes, hues, tones, and values of things around me. I am successful at capturing the essence of my subjects through painting, drawing and mixed media. Over the years of constant practice, I have familiarised myself with acrylic paints, charcoal, chalk pastel, other dry mediums, along with non-traditional mediums. The surfaces that I do work on are canvas, paper and sometimes board. In the year 2020, I incorporated oil paints into my work, and it has opened a new door and helped pave the way for better work. My work is based on capturing the subject’s emotion/facial expression and displaying how he, she or it was feeling at that point in time. Taking some time to analyse the reference photo, I look at the subject’s eyes for details that would explain to me what the subject was doing or thinking. In some cases, the original background of a reference photo might not be used so I would choose an appropriate representative colour that would add value to the piece. Recently, I have shifted my focus towards painting about other things like black pride. My newest body of work consists of paintings that represent people of African descent, smiling and embracing their skin. A realistic painting is my artistic way of saying this thing is beautiful and people must pay attention to it. Sometimes I add my own twist to it without taking away from the real thing.

Self

Pride

Oil paint on canvas board | 22 x 28 in | 2021

Oil paint on canvas | 20 x 25 in | 2021

SADE EAILEY

https://sadeeailey96.wixsite.com/fineart2021/final-works

My practice is focused on the material experimentation into the investigation of dissociation and the unconscious mind: dissociation is the mental process of disconnecting from your thoughts, feelings, memories, or sense of identity. My work is inspired by my experiences of dissociation caused by childhood trauma as well as Swiss Psychiatrist Carl Jung's theory of the collective unconscious. I am inspired by artists including Sheena Rose, Andy Warhol and Magali Rizzo. My work aims to illustrate and explore the state of disconnection creating conversations and questions of identity and dissociation as a form of adaptability for survival. My work takes on a conceptual approach using sculptural and textile elements with self-portrait references. My process begins with a series of overlapping charcoal self-portraits done on stretched brown cotton fabric; the fabric is then removed from the stretching frame. I then drenched it with hot paraffin wax, when cool, the fabric was then hand sewn using elements of patchwork. Wax and fabric are two prominent elements used in my creative process. Wax has been used across cultures for several purposes which include healing, preserving, and meditation. I use wax for its suppleness, feasibility, and fluidity. I work on brown cotton fabric specifically for its versatility for manipulation. When drenched in wax the fabric becomes almost translucent and starts to resemble skin. My sculpture embodies complex layers that illustrate the different emotions experienced before, during, and after episodes of disconnection. It engages my audiences in an emotional and conversational experience all at once with my unconventional and experimental narration of dissociation and the collective unconscious.

Untitled Charcoal, wax on brown cotthon fabirc | 11 x 15 ft | 2021

CLOSER VIEWS OF WORK

SHALISE THOMAS

https://www.instagram.com/artsy.shalise/

My current oeuvre challenges my desire for both abandonment of and need for perfection in my life. The meaning of perfectionism is relative to me; it represents having a preconceived outcome or response to my work and achieving it. This exploration materialises itself in undulating amorphous shapes, lines and concentric circles, creating topographical-like, aerial mind maps inspired by the Surrealist Automatic approach to drawing. I use wire mesh, India ink and Rust to draw and mark-make in a meditative, free-flowing process of the subconscious and unconscious mind. As such, unpredictability and uncertainty set precedents both in the process and results of making which is an uncomfortable space for me. However, vulnerability deconstructs the self-constraint and confinements over my creative process allowing for the accidental discoveries and iconographical forms to emerge organically. For example, in my concentric circles wire mesh drawings I work in small sections using my hand to mould and fray the weave of the wire. I then use a process of assemblage to connect each element, creating a map-like structure. I then used a mixture to induce rusting of the wire using a controlled application technique, but the outcome of the reaction is nuanced. Subsequently, the initial results are impermanent, and I do not seal the Rust, so it gradually corrodes the metal over time like our human experience of ageing. As a result, I have full control over the rusting process and end effect but, the iconography of concentric circles suggest that I still strive for perfection. Thus, decoding the meaning of my work is an important part of my artistic practice through analysing the repeated iconographic patterns using free association and research. So, creating automatically, allows me to become more self-aware bringing me closer to understanding who I am.

Rust Drawings Series Wire and rust on paper | 8.5 x 11.75 in | 2021

Ink Drawings India ink on paper | 8.5 x 11.75 in | 2021

Untitled

India ink on paper | 28.5 x 35.5 in | 2021

Wire mesh on plastic | 9 x 13 in | 2021

Ink Drawings India ink on paper 17 x 23.5 in 2021

SHIREEN RAGOOBIR

https://shireensragoobir.wixsite.com/my-site-1

My artworks aim to illuminate the connections between lived trauma and the effects manifested many years later; to make real and solid what is hidden, unspoken of and unseen. The body of work shows my material thinking in working through trauma and understanding its effects. My probing comes from a need to understand how one’s environment has shaped them, and by extension, their worldview. How do our past experiences shape us? What insights can we uncover by understanding these linkages and their effects? In seeking answers to these questions through my art-making, I have produced several abstract works. With the words of Herbert Simon in mind, that “the representation of visual perceptions may be the most promising area for building the first real bridges between the symbolic and neural levels of explanation”, I engaged in abstract art-making. This has allowed me to free my mind from the dominance of reality, and hence through automatic drawing and painting, I aimed to activate brain-states otherwise difficult to access, such as the unconscious mind. Some pieces are gestural, abstract, markings and paintings. But in my Mirror Image piece, I used both abstract and conceptual approaches in creating an experience of the distorting or obscuring of one’s self-image. Through this piece I gained insight into specific trauma effects while creating awareness for it. Viewers of this piece are meant to stand in front of it and observe their obscured image with the specific colour palette of red and black, representing violence, harm, pain, affliction, rust, rage and blood. The minimal colour palette is maintained throughout the body of work. My wire sculpture piece, which is a three-dimensional evolution of the marking-making exercises, was also black with small areas of red. Its form comes from my introspection on trauma as an entropic force, that at times, can feel random and directionless, but small interventions over time can yield an overall desirable direction or outcome. In these different ways I explore trauma effects and the potential of art as an interrupting force.

Mirror Image Epoxy resin on framed mirror | 26 x 22 in | 2021

Drawing series-Sleep Drawing Paint marker on paper | 10 x 7 in | 2021

Entropy Resin and paint on cutlass wire 22 x 11 in | 2021

Broom 1

Mop 1

Oil-based house paint on paper | 17 x 14 in | 2021

Broom 2

Mop 2

Oil-based house paint on paper | 17 x 14 in | 2021

Cocoyea 1 Oil-based house paint on canvas | 36 x 18 in | 2021

Cocoyea 2 Oil-based house paint on canvas | 36 x 18 in | 2021

SHIRVAUGHN SIMMONS My work is a photographic series consisting of four works, through which I explore the labyrinth as a vessel for evoking my decision to confront lived experiences, deconstruct memories and approach my unique journey with mindfulness and honesty to serve as a catalyst for personal healing from trauma. Ordinary people who overcome obstacles inspire and encourage me. Also, the fact that I have the power to have a positive impact on someone else’s life inspires me to create work. I approached this venture through the use of earth art, in order to comment on the naturalness of one’s desire for healing hence I used only natural materials, most of which were found at the respective labyrinth site. I reflected on the temporary, ever-evolving, ever-changing nature of the human condition and, I thought ephemeral constructions were fitting. While the symbolic nature of the labyrinth appealed to me, I also wished to experience, physically, the path to the centre and back out, hence my choice of a large enough scale for this to be possible in at least one of the labyrinths. It was also important for me to invite reflection of self by others and so I placed them in spaces that were publicly accessible. Photography documented these creations and allows me to share them with a wider range of viewers. Since I modelled and constructed my own paths, these were a direct reflection of me. Most of my previous work can be described as traditionally realistic renderings with my perspective of visual, physical representation being the focus. In contrast, this study is symbolic of deeper self-inquiry with focus on the intangible concept of the labyrinth as a metaphor for life. My desire in this series is to use my art as catharsis for myself and for others. This Labyrinth Series has also allowed me the opportunity to delve beyond my level of comfort in my art making.

Labyrinth 1 Bamboo, seeds and leaves on Earth | 10 ft diameter | 2021

Labyrinth 2 Flowers, buds and leaves on Eart | 5 ft diameter | 2021

Labyrinth 3 Flowers, leaves, ashes, gravel, sawdus | 10 ft diameter | 2021

Labyrinth 4 Rice, peas, beans, ashes and gravel on Earth | 5 ft diameter | 2021

49 AKELIA WILSON 50 ALIYAH EMMANUAL 52 BREANNA CYRUS 54 EMMA-LEE PERSAD 55 SALISHA GUNNESS 48

AKELIA WILSON Homic is outdoor seating for everyone. This project was inspired by the lack of group seating in public spaces in Trinidad and Tobago. Although there are benches and tables, they place a number of limitations on users. Homic is a flat platform that boasts a removable backrest on two sides, creating a bench on one end and lounge on the other larger end. This creates a space for both lying down and seating for anyone. It’s made to be comfortable for young children and the elderly while being durable within a Caribbean climate. It is also semi-permanent as it is designed to be completely dismantled.

Homic Teak | 78 x 68 x 16 in | 2021

ALIYAH EMMANUAL My final year at UWI required us to create a product based on a topic we were very passionate about. Having lost a parent when I was 15, I faced many challenges and noticed that society does not take teen grief seriously. My father’s death, as well as my struggle to process and survive the bereavement period, inspired me to create an interactive journal for young people going through similar experiences as mine. My goal is to assist teenagers in navigating the grieving process and managing their grief in a healthy manner. As well as, encourage them to remember their parent and all the good times they shared. Before I began writing, I spoke with bereavement therapists in Trinidad. I was given a variety of exercises that they used on their patients, which aided in the design of some of the activities and prompts in my book. I also interviewed other people my age who had lost a parent and read studies and reports on healthy and unhealthy coping mechanisms for grief. This project was not only a success in terms of execution, but it also taught me about myself and my bereavement journey seven years after my father died. I’m hoping to keep working on it and have it finished by his birthday in October of this year.

Mock ups of Unbottling 2021

BREANNE CYRUS

https://breannecyrus.wixsite.com/studybuddyweb

Children often undergo undue stress when unable to quickly understand what is being taught in a classroom setting. Those who fail classroom exams may be labelled as ‘stupid’, ‘disobedient’ and ‘unable to learn’. This is something I witnessed during my time as a teacher. I have observed that while students in general have mastered the mechanical aspects of reading, they can have a hard time understanding course materials the first time around. This can make for lengthy teaching times as teachers may have to repeat concepts many times. To combat this particular challenge I designed Study Buddy. It is an app/website that gives students the opportunity to continuously review material. This is tool that is user-friendly, encouraging, and designed to minimise anxiety in the experience of learning new material. This allows for detailed explanation while planning future steps. This format also allows for a cheap, widely accessible learning tool. Tom Hodgkinson once said “Learning is not the product of teaching. Learning is the product of the activity of learners”. With this in mind, Study Buddy presents an engaging environment for active learning. It specifically targets teenagers, utilising a comedic and whimsical brand personality, while being informative and attractive. Built with san serif, mixed-case letters, for comfort and readability, a warm, pastel colour scheme, fun characters, and comforting curves, every design choice was purposefully made.

‘Study Buddy is an interactive digital tool used to guide students with the formatting of a project, assignment, or documenting of information into a clear and concise format with the intent of boosting their overall grade.’ Its goal is to create happy learners.

Informative content such as, how start researching, a breakdown of the part of a typical research project, how to write a paragraph, revision exercises, and good study habits are included.

Mock ups of Study Buddy | 2021

EMMA-LEE PERSAD

https://www.instagram.com/emmarte.tt/

My passion for woodworking was discovered in year two at UWI. My first attempt at joinery was a coffee table. Designing furniture and using the necessary tools to bring the designs into existence really excites me. In these modern times, minimalism is embraced by most millennials, hence the concept of "less is more" is quickly becoming more popular with many. This artist's desk is inspired by this concept. Everything an artist would need has a designated place in order to provide a compact and efficient space for doing creative work. As an artist myself, I explored what any artist would need for a comfortable and efficient workstation. This desk is easy to assemble with a chic, modern, design aesthetic. These aspects make it an attractive piece for any modern living or professional space.

Artist’s Desk 2021

SALISHA GUNNESS

https://www.behance.net/salishagunness1

From doing laundry to mopping, growing up requires young adolescents to learn some important life skills, none more important than cooking. Can You Boil Water? will teach budding teen chefs basic cooking skills, common cookery terms, kitchen essentials, and most importantly fun, quick and easy recipes. I know what you are thinking: cooking healthy can be expensive, and where are parents/guardians going to find these impossible ingredients? Can You Boil Water? is here to help, we are here to show parents/guardians how cooking healthier can be affordable, guide young adolescents to make better decisions using local ingredients they already know, things that are already in their fridge or backyard. This E-book was designed using Adobe Illustrator and compiled using InDesign to create a fun, digital cooking handbook for healthy teens.

Can You Boil Water? Front Cover 2021

Can You Boil Water? Table of Contents pages 2021