ART AND DESIGN 2015
ART AND DESIGN 2015 MAY 3RD | 3PM DCFA | GORDON STREET
CONTENTS
NOTE FROM THE CO-ORDINATOR FINE ART SALONIE ROBERTS REBECA FOSTER NOEL NOTTINGHAM DENIQUE RUIZ MYER FISHER MARSHA MORRAIN ROCHEL THOMAS KASHIF DENNIS PENIEL LOPEZ CHENELLE ETIENNE KIM SYLVESTER ERICA STEWART GILLIAN TROTMAN CELESTE WALTERS SEERITA SEUNATH SHANI BAPTISTE YEJIDE CORDNER VAKISHA JONES LISA ALI DESIGN CORNELIA INCE DARNELLA RAMDASS JOSIAH DUNCAN SHIVANI SIBARAN DEBORAH RAWLINS CRYSTAL HOLDER LEE LUTCHMAN JEROME WATSON MARSHA TREPTE SHAHIRA RAGOONANA LEANN GILL SHANNON DE SILVA
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FROM THE CO-ORDINATOR
LESLEY-ANN NOEL VISUAL ARTS CO-ORDINATOR
The Visual Arts Degree offered by the Department of Creative and Festival Arts, is an intensive, studio-based program, which provides students with the opportunity to develop a practical and theoretical understanding of art and design practice in the context of our environment. At levels one and two of the programme the students receive a foundation education in Art and Design theory and practice, and have the opportunity to pursue electives in Art Education, Film and Video, Landscape Design, Surface Design, Costume Fabrication, Ceramics, and Art and Design Theory, supported by our faculty who come from varied backgrounds in Art and Design. This foundation provides the base for the independence and maturity required at Level Three, where students conduct primarily self-directed explorations in many different themes, media and types of work under the ‘umbrella’ denominations of Fine Art and Design. This exhibition is equivalent to the Final Examination for the graduating Fine Art and Design classes of 2015 of the Visual Arts Degree Programme, and will be the start of a fulfilling career for many of these students. Congratulations to the members of the graduating class on reaching this milestone.
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FINE ART
SALONIE ROBERTS MIXED MEDIA
BIO: Salonie Roberts is originally from Jamaica. She moved to Trinidad after marrying her Trinidadian husband. She currently Cowen Hamilton Secondary School. Roberts creates conceptual artworks from utilizing mixed media in all of her pieces. this is due to her specialization in craft and her passion for fabric manipulation. Her work often demonstrates the omnipresent lingering of the inequality present within cultures, her mixed media artworks references post-colonial theory.
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Fabric of Society Society is made up of demographics, which consist of its ethnic composition, wealth, education level, employment rate and regional values. Fabric is a flexible woven material which is made of natural or artificial fibers often referred to as the thread or yarn which is made up the weft and warp. The weft being the thread running horizontal and the warp is the thread which is vertical Fabric of society can be view as the various inequalities in society. Social inequality, Racial and ethnic inequality There are many forms of inequality in society today. The objective of my work is to foster awareness among viewers of this alarming situation by provoking thought. Having recognized that a social disconnect exists, my Wall Hanging is a vehicle that makes the connection possible. This piece questions the nature of inequality in society. My extensive background in textile and craft assisted in the creation of this wall hanging. Textile was a fitting representation, since it is widely used by all social classes in society, despite varying in texture, value, quality and colour. They all use it for the same purposes (clothing, shelter and furniture).I opted for a large piece ( 8 feet by 8 feet) to ensure visibility. The importance of the red lines representing ‘ blood’ placed on the surface of the work was my way of forcing members in society, to really take notice and think about their actions towards each other in society, noting that all are equal in some ways Abstraction is used to complete this wall hanging.
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REBECCA FOSTER THREE-DIMENSIONAL ART
BIO: From as early as 6 years, Rebeca Mercedes Foster started to develop her artistic ability. She was born and raised in Christ Church, Barbados, which is known as the gem of the Caribbean Sea. Through the years she was encourage to develop her talent with education. After venturing away from art for two years, she returned and completed an Associate Degree in Fine Art at the Barbados Community College. From there she made the decision to continue her studies, which brought her to The University of the West Indies, St. Augustine, where she is currently finishing her Bachelor’s degree in Fine Arts.
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My work on “Box of Emotions” is created to bring awareness to the audience of the existing power of expressions and how emotion is an influential aspect of our behavior. The collection produced should also impact the feelings of the viewers, opening a narrative pathway for their reaction towards the work. In the past I have primarily worked with oil on canvas however my body of work expands with the exploration of materials for portraiture with sculpture. I was able to relate the expressions of my subjects with the work of William Rose through his diverse range of portraits produced. With the help of Jason DeCaires Taylor’s underwater cement sculptures, I was encouraged to use different materials that firmly execute my work. These contributors benefited my work and growth as a realistic artist. Similar to Taylor, I worked with the medium Plaster of Paris, creating the facial sculptures. These materials were suitable as they supplied the accuracy and simplicity needed for executing my ideas. Wanting my sculpted faces to be as realistic and believable as possible, a life-size scale was chosen. The collection adds up to 60 faces, each of them representing a different person with their unique expression. The use of various faces create a visual interest, offering an illusion to viewers that they are in the presence of a crowd and allowing them to relate by seeing themselves in the faces, regardless of gender and ethnicity.
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NOEL NOTTINGHAM DRAWING/PAINTING
My work is focused on a phenomenon which has a resonating impact on people around the world: Humankind’s addiction to the cell phone. The work I do is not pigeonholed by any one approach. Though I am sometimes referred to as a Satirist, I prefer to describe my work as a combination of styles including Photorealism, Surrealism and Futurism influenced by Expressionism.
BIO: “I am a self-taught artist and realized my passion to be an artist from age four. I consider myself to be an avant-garde artist. I have no set boundaries and challenge everything in art. I go as far as my art can take me, and then….some more. My motto is: Dare it, do it.”
My work involves traditional drawing, painting and air brush techniques combined with explorations of a variety of media such as pen, pencil, colored pencils, charcoal, acrylic, water colour, paper, canvas, grey board, card board, copper wire, 2x2 inch BRC, aluminum foil, discarded cell phones and the list goes on. Occasionally, (for portraits) I may work from photographs using a grid system to maintain the scale of the photo and to obtain precise proportions and pragmatism of the subject. Within my work I challenge the viewer to look deeper as I always include details which will only be discovered if the onlooker goes from an overall view to a micro view of each piece. The relationship which goes on among the materials, colors and techniques constantly grips my interest and as such, I goad myself to go further. Stemming from this anthology of work I am already motivated to continue the series based on humankind’s addiction to other forms of technology.
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Denique Ruiz Fine Art
BIO: I am a fine art conceptual artist developing my skills in both the two and three dimensional medium. My works of art is often my means of communication for I believe that it is the most effective way to reflect my inner thoughts and emotions. I want my art work to be striking, unique and enchanting: full of style, ‘life’ and rhythm. Having a love for both art and psychology I intend to continue into my Master Degree and complete my dream of becoming an Art Therapist.
As a conceptual artist, my work on ‘Absorption and Reflection’ is created to bring awareness to viewers about the importance and possibilities of tapping into one’s unconscious mind (what a person has absorbed) and reaching to the causes of what is seen through their behavior (reflection). Suspenseful things, stories, movies and images have always demanded my interest: driving me to a desperate want to discover the unknown. Contributing to this interest are two things: my ignorance of the causes of my depression and my observations of diverse behavioral patterns of mentally ill patients. With these interests in mind, the creative process began during one of my depressive episodes. I began doodling; a practice that brings the unconscious to surface, using a continuous line forming organic shapes of contrasting visual texture on scraps of paper. I then recreated those images on acrylic paper and door ply. From these shapes, intentional and unintentional abstracted human imageries were created, some vividly produced while others are vaguely seen. These images seek to evoke curiosity within the viewer encouraging them to join me in revealing what has been absorbed by carefully scrutinizing the work. With these interests in mind, the creative process began during one of my depressive episodes. I began doodling; a practice that brings the unconscious to surface, using a continuous line forming organic shapes of contrasting visual texture on scraps of paper. I then recreated those images on acrylic paper and door ply. From
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these shapes, intentional and unintentional abstracted human imageries were created, some vividly produced while others are vaguely seen. These images seek to evoke curiosity within the viewer encouraging them to join me in revealing what has been absorbed by carefully scrutinizing the work.
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MYER FISHER PAINTING
BIO: My name is Myer Fisher, a new and upcoming artist. I am enthusiastic and innovative in my work and I love sculpting, painting, craft, drawing, teaching and learning new techniques. I want my work to bring awareness to my viewers so they can view the artwork from different and their own perspective. I currently attend the University of the West Indies; I work at Eastside Bakers Company Ltd and enjoy the support of my loving family and friends..
The work, disclose events I have been experiencing throughout my life in my sleep. On nights when I am tired, my sleep is plagued by feelings of being squeezed and suffocated. My body feels paralyzed and my voice goes on mute, I also occasionally feel like I am falling off a cliff. Ancestors know these experiences as an evil presence, while sleep researchers conclude is sleep paralysis. Sleep paralysis is the feeling of being conscious but unable to move. This occurs when a person passes between the stages of wakefulness and sleep. During these transitions, you may be unable to move or speak for a few seconds, up to a few minutes. After struggling with this event it has inspired me to create this type of artwork, because I believe in order for me to move on I need to face my fear. I want my artwork to bring the feelings I experience in my sleep to life by using objects, color and expression to represent what I feel emotionally and physically, when I am supposedly at rest. The media I used for the pieces are mud clay, objects, vanish, plaster of paris and acrylic paints. Clay is a medium I enjoy working with, and it has advantages such as, being easy to manipulate and I can control the drying process, which makes it easy for me to always come back and work on. However, the acrylic paints come in vibrant colors, mixes easily and dries quickly. I used the acrylic paints as a final medium to create a more realistic look to the artwork. The techniques I applied to the artworks are Realism, Sculpting, and Abstraction.
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MARSHA MORRAIN PAINTING
Having been raised in a mixed descent family, I always believed it was difficult to find a place where I fit in ethnically. Although I live in a multicultural country, not being of one race made me feel awkward. I could not call myself African, European, Asian nor First Nations; so by default “other” or “mixed.”
BIO: Marsha Morrain b. 1991. I am a fine artist developing my skills in the two-dimensional medium. On occasion, I venture into the three-dimensional medium via ceramics. My artwork consists of a variety of media including of paintings, oil-pastel drawings and etchings. Thematically my work deals with the tribulation of the human experience and aims to explore mixed-race identity. I use the updates of an individual in relation to ethnicity, society and emojis to draw inspiration.
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My desire to create artwork addressing mixed-race identity and belonging to directly responds to my understanding of the mixed-race life. The paintings put imagery to what several persons of mixedrace descent deal with daily. I address the issue of, “How does one appear to be part of a family to the public when one’s birth parents and siblings look differently to each other?” I chose the medium of acrylic paint on canvas to lean on the similarity of many family photographs as they are twodimensional. Not to standardise the representation of a mixed-race person I used abstract- expressionist illustrations. With my admiration of flowers, I see flora as a symbol of gratitude, respect and love. The floral garden of society surrounds the subject matter of the paintings, this describes the human experience and offers the flowers as a positive solution. The size four feet by five feet each creates a presence and draws attention to this overlooked subject. I hope these artworks inspire “others” to present their experience being mixed-race. This body or work
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ROCHEL THOMAS MIXED MEDIA
BIO: Rochel Thomas consider herself to be conceptual artist that employ paintings, installations and mixed media to convey her messages. With a conceptual approach, her artworks references post-colonial theory as well as the avant-garde or the post-modern movement as a form of resistance against the corrupt political system and selfishness of individuals in the society. Her conceptual artworks demonstrate how life extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction. It challenges the binaries we continually reconstruct between Self and society. demonstrating the omnipresent lingering of a politics and ‘corporate world’, she tries to approach a wide scale of subjects in a multi-layered way. Rochel likes to involve the viewer in a way that is sometimes physical and often deliberately provokes the viewers to get their thoughtful interaction. She believes in the idea of function following form in a work
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My installation titled Hemorrhaging at Half Mast is an exploration of the theme destruction. Destruction is not only utilized as a theme but it is also used as a method of creation. I have chosen to explore the theme destruction because of multiple factors. These factors include my personal obsession with auto destructive art and the human compulsion to destroy which inevitably leads to their own demise. Thus the piece is based on the concept that Trinidad’s society is going through a destructive course. Whether the destructive incidents are environmental degradation, social destruction such as murders or political corruption they all contribute to the destruction of the local society. In that light the work transposes that idea into art as it provides a social narrative through manipulation of a national symbol that encapsulates the idea of a nationwide destruction, without emitting any social constructs or institutions that may be affected. After weeks of contemplation the national flag was chosen as the symbol that was manipulated. The technique chosen embraces the seduction of destruction to represent the morbid destruction of society that many choose to ignore. My reason for producing this narrative via the means of installation is to create an engaging and thoughtful visual environment through space.
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KASHIF DENNIS
PHOTOGRAPHY & MIXED MEDIA I do not love myself. Concerns stemming from my struggle with self-worth, and a questioning of my own exclusion from societal constructs of maleness led me to create this body of work. The inability of men to deal with social constructs manifests as many social behavioural problems. I now investigate if the absence of valuing self and fellow man is as a result of an inability to subscribe to the ideologies that shape our existence. This body of work is a meditation on the ‘controls’ of male existence.
BIO: Kashif Dennis is regarded as an Abstract Artist. Born in 1989, he has formal training in painting, drawing and sculpture. He holds a Certificate in Visual Arts from the University of the West Indies St Augustine where he was awarded the Pat Chu Foon prize for Best Visual Arts Certificate student. He approaches art making as a means of understanding the world and has the ability to respond through any artistic medium he deems appropriate. His current work introduces the medium of photography.
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Although the idea of masculinity is prevalent as part of my work, simultaneously engaged are the ideas of violence, femininity, religion, sexualization, materialism, hypermasculinity and subjectivity as controls of what it means to be male. Engaging all these ideas at once attempts to afford as unbiased a perspective of all expressions of maleness. The work then becomes a medium for reflection and hopefully enlightenment, which fulfils a sense of purpose for me as an artist; making my ideas physical for the benefit of others. I depended heavily on the illusion of photography to capture the many layers of my ideas and built them up on the landscape of the male body while calling upon my abilities in costuming, makeup artistry and assemblage to perfect the ‘mask’ of my characters. This work reflects the complexity with which I approach ideas. The multiplicity of perspectives makes my work contradictory and questioning, yet simple and abstract in its statements as it attempts not to define, but rather create a new vocabulary for male expression. My work makes visible the workings of my mind, and makes physical an attempted path to self actualization.
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PENIEL LOPEZ MIXED MEDIA
As an artist I am captivated by the power of color and the unique qualities that a simple texture can possess. I describe my work as abstract and symbolic. In this body of work, my overall vision is to investigate how color and texture can be exploited expressively through various techniques and methods, to evoke different responses from the viewer. My work is influenced by abstract expressionism and color field paintings. BIO: Peniel Lopez is an aspiring fine artist, who is captivated with color and abstract art. She has studied Visual Arts at CXC, Advanced level and has also been awarded a certificate in Visual Arts from the University of the West Indies. Presently, Lopez is enrolled as a final year student at the University of the West Indies, pursuing her B.A. in Fine Arts and hopes to enter the teaching service of Trinidad and Tobago.
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In this series of work, nature was used as a starting point in the development process of each artwork. For that reason, the subject matter of a sunset and a dead bacano leaf were the only sources used as inspiration. I employ the use of acrylic and oil paints, due to their ability to be easily manipulated, as well as, sand, resin, wax, shells and sawdust. These materials are interwoven with layering techniques and other methods of application.
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CHENELLE ETIENNE OIL PAINTINGS
BIO: Chenelle Etienne was born on May 19th 1992. She started to draw at the tender age of twelve and her artworks was used in the United Nations Children’s Fund and the Cancer society calendars for the year 2009. She was involved in numerous exhibitions with the National Library of Trinidad and Tobago (NALIS) and the Venezuelan embassy. Chenelle Etienne did beauty therapy and hairdressing courses with Youth Training Employment Partnership Programme (YTEPP). In 2013 she represented Trinidad and Tobago in hairdressing in Germany for World Skills International. This young lady has a certificate in Visual Arts and is currently pursuing her degree. Her goals and aspirations are to reach the highest level in the field of art with the help of God Almighty..
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This body of work evolved from my interest and questioning of “reality” in the world around us. After researching this topic one question emerged: Can we speak of one “reality”, or are there many different realities that are subject to change? In my creative process I explored this concern over a three-week period by painting a subject between six, o’ clock and half past six in the afternoon, every day on the western side of Gordon Street at the University of the West Indies. These paintings were done at the exact time period every day in order to illustrate the way in which, what we see changes in front of our eyes. The medium used is oil paints because it takes longer to vdry, allowing me to adjust the light changes that occurred while creating the piece. These light changes set the mood and tone of each day, which gave the “reality” of each day, its own personality and difference. In my body of work I want to propose that “reality” is not stable. If we are not aware, we would not observe the changes. Nothing is ever the same, the moment that we share right now, we will never experience again in the same way.
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KIM SYLVESTER
ACRYLIC & PHOTOGRAPHY
BIO: Born 1991, Kim Sylvester is currently pursuing a BA in Visual Arts at the University of the West Indies. She is a member of the Valencia Pentecostal Assembly Church where she enjoys singing enthusiastically in the youth choir. In between singing and pursuing her art, she does nail art and acrylics as a hobby. Sylvester has done back up vocals for Jadee Sellier, Joshua Ali, Ezekiel Joseph and Kelvin Jr. Noel in Trinidad and Tobago and continues to serve The Lord in all that she does.
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My work in this series developed from being in an unhealthy relationship .I have created the work to bring awareness to people who have experienced a broken heart and find it difficult to express themselves openly. I began working on canvas with acrylic paints to try to show my feelings that were difficult express verbally. Scratching and scrapping were two techniques used to help bring forth my abstract piece with the acrylic paints. However, my creative process developed to include photographic self- portraits with line work on my face to represent the mask I have worn on a daily basis. The idea of the lines on my face came out of previous work that I have done on the human figure. Different coloured lighting were used to enhance the depressed and painful mood I was trying to evoke. My photographed self-portraits were then used as points of departure to return to my painting. My piece lends to the concept especially as the hair is juxtaposed in front of the face in certain areas leading to an illusion of depth. There are symbolic images that create mystery in my work. My aim in my art is to bring awareness to people of the pain individuals feel when they hurt mentally or emotionally. Pretence is an attempt to survive the demands of life without letting others know we are suffering inside. A Mask of emotional mysteriousness. An enigma at its finest.
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ERICA STEWART MIXED MEDIA
The installation work aims to encourage conversation on public art in Trinidad in a context where work has been vandalized and misinterpreted. I am about targeting the population by utilizing the imagery of a vitamin pill. This pill represents public art as a remedy for society. It was influenced by Canadian Artist Douglas Coupland and his work depiction of a ‘Gum head’ Steel reinforced fiberglass 6 feet tall, with gum to be applied by visitors over five months. His reason for creating such work was due to his ‘complex relationship with the notation of defacement in Canada’.
BIO: Originally from south Trinidad, came from a large family full of everlasting love and yes she’s family oriented personnel. When she decided to enter the realm of The Department of Creative Arts and Festival Studies her dream was initially on shaping a better tomorrow, with the ability to be action oriented. There are a lot of misunderstandings and misinterpretations toward who we are as Trinidadians, being that as it is, she realized within her growing to become more of a prophet and activist for hidden voices. Resurrected from a family background of high moral standards, sensible upbringing and ambitious individuals, she sees herself as a loyal, honest, charismatic, talented, creative, spontaneous, down to earth, different, shy, intelligent and a very personable young woman. Overall she lives to love and enjoy this life to the fullest. .
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My abstract installation will internally rectify that cold or virus that us Trinidadians have inside of our systems which imprisons our physiological impact towards public art. My heart fluttered while working on such a piece with the knowledge of becoming an activist for my passion in the arts and I like solving problems I must say. I had a dying need to build anything while growing up so I worked mostly with multiple media such as paint, clay, photographs, assemblage and performing arts but I mostly like constructing 3Dimenstional works. My hopes after creating this vitamin pill is for the public to re-evaluate themselves as to how they view and accept their cultural identity through artists’ creation. Reasons for touching this theme was based on my goal of becoming a successful public artist in Trinidad so I needed to know why shifting values regarding the treatment of art in public spaces is the way it is now. I Dr. StewArt will prescribe you with a vitamin pill called ‘V-ART’, (get rid of that cold and replenish your soul)
because Public Art is the umbrella for which our cultural identity should be built from.
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GILLIAN TROTMAN LANDSCAPE INSTALLATION
It is astounding that humans perceive colour. Yet, neuroscience indicates that at the wider ends of the light energy spectrum the ultra-violet rays, gamma rays and radio waves are invisible to the naked eye. With my art, I explore the possibility of perceiving that invisible segment of the spectrum. My desire is to make visible that which is invisible - imagining the unseen as a coloured landscape.
BIO: Gillian Trotman decided later to pursue fine art in the University of the West Indies after experimenting with marketing and economics. It became clear to her that fine art was the one thing that chose her while concurrently allowing her to explore areas that are intriguing to her and can be expressed through her art. She is a professional art director and aspiring fine artist and has interests in fashion, art education, languages, science and technology.
I envision if one was to suddenly perceive the entire spectrum of light energy it will be disorienting. This is my desired effect for my curved hologram landscape installation. The curved landscape demonstrates my intention to immerse the viewer in an explosion of colour and vibration. Applying, as much as possible, the use of complimentary colours with hologram squares, I wish to create vibration and movement in a curved landscape. Each hologram picture is cut down into small squares, so that, the conceptual will conquer the literal representation with this deliberate abstraction. Visual perception is a fascinating focus for me, it has expanded my imagination and this is the first of a series of ideas for a collection.
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CELESTE WALTERS PYROGRAPHY
BIO: Celeste Walters graduated from Bishop Anstey High School, Port of Spain, in 2012 before attending the University of the West Indies where she pursued a B.A in Visual Arts (Special) with a concentration in Fine Art. In her second year of study, she participated in UWI’s semester abroad program from September-December 2013 at the University of Calgary in Calgary, Alberta, Canada. There, she completed courses in Intaglio printmaking, sculpture, painting and new media theory. The Woodbrook native is presently attempting to contemporise architecture endemic to the district in her most recent developing body of work by experimenting with features of colonial gingerbread houses such as gable roofs, jalousie windows and fretwork. She is interested in interrogating Caribbean notions of gender, sexuality and mental illness through her work and is highly influenced by literature, her physical environment and personal experiences. Celeste endeavours to pursue an M.A in Art Therapy in the near future while concurrently maintaining an independent studio practice.
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My work treats with the themes of mental illness and gender and how the two intersect in the life of an individual. Originating from a deeply personal place, I choose to present this subject matter through the lens of a young woman living with a mental illness in a society where one is often deemed a social pariah for such. I have created this work with the hopeful intention of gradually refashioning how mental illness is perceived in a Caribbean context. This installation serves as a physical introspection into a period of self-exacted isolation. I re-contextualise the symbol of a house, from a token source of security to a place of controlled exile. The demure of a colonial styled gingerbread doll’s house references imposed conventional femininity during childhood via the florid fretwork and delicate build, while simultaneously adverting to the removal of one’s personhood as a consequence of dissociating from one’s environment; the woman whose life has been afflicted by the throes of mental illness thence becomes a doll, a counterfeit of her original self. I have chosen to work exclusively with wood and leather as the two materials are very organic and together create a sort of symbiosis which lends to the anthropomorphic nature of the installation. The technique of pyrography allows me to explore the creative potential of working subtractively. Pyrography is the art of creating images on wood or leather through the manipulation of controlled heat application, typically done using a hand tool akin to a soldering iron or a blowtorch.
I have been practicing pygrography for a year in an attempt to wean myself away from more traditional mediums such as painting which I find laborious. This installation is a self-confrontation, an act of radical self care, a threshold to recovery.
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SEERITA SEUNATH MIXED MEDIA
The themes of Indian jewelry, gender and oppression have been explored in my creative piece; which bring forth the issues that the role of jewelry has played in defining gender ideas and is used as a method of oppressing women.
BIO: Seerita Seunath was born in San Fernando, Trinidad and Tobago in 1993. She works predominantly in mixed mediums, however is focused on wire bending and jewelry making. Seunath is currently in her third year of pursuing a Degree in Fine Arts at the University of the West Indies, St. Augustine. After which she intends to pursue her Master’s in Cultural Studies.
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Growing up in a predominantly ‘Indian’ environment and household I was acculturated into the norms of a Hindu home, as I developed intellectually I began to question the ideas and beliefs of my families’ faith, especially when it comes to gender roles. When the idea that jewelry was used as control mechanism came to me while watching an Indian soap opera. Viewing this show gave me an opportunity to objectively see how different parts of society function, thus allowing me to question and reflect on my personal life in an expressive way. Wire, chain, glass, fish hooks and mesh amongst other material were used in creating the necklace. This was done in an attempt to show beauty that is being held down, a women bound in a new form of chains and status. Wire bending and jewelry making skills where the most efficient techniques used. The piece was created with the intent to draw someone in, to see a reality that often is unnoticed but exists in everyday life.
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SHANI BAPTISTE PAINTING
BIO: Shani Baptiste is a budding artist currently pursuing tertiary level qualification in her chosen field. She is a graduate of St Joseph’s Convent (High School), Port of Spain who has taught French and Spanish at primary and secondary school levels, and English to non-native speakers. Shani’s immediate goal is to further develop her skill as an artist and to use her experiences as direct influences in producing artistic pieces.
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I have worked in the genre of portraiture for the last few years. My interest in human facial features and unique expression has encouraged large scale work to capture details of the story that an individual’s face tells. I always aim to produce realistic works of art to convey my messages. As West Indian people, our heritage has also allowed for a unique blend of faces full of character with the varied ethnic roots that are therefore interesting to simply look at. Digital photography has aided in my study of detail as the medium allows for close inspection of someone’s face. In this series of work I have chosen to explore colour as a way of conveying the story of the subjects. Throughout my creative practice I have been open to the use of various media, paints (both acrylic and water colour) pastels and charcoal. For this particular series, however, I decided to paint in acrylics as I wanted the pieces to be bold and brightly coloured. The focus in this series is to highlight beauty in the West Indian context which is emphasized by the use of texture.
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YEJIDE CORDNER MIXED MEDIA
BIO: Yejide Cordner is a 22 year old aspiring artist from Diego Martin. She attended Holy Name Convent, POS and is about to obtain her BA in Visual Art from the University of the West Indies. Yejide’s work is influenced by Afrofuturism and Black femininity. She hopes to get her Masters in Curatorial Studies and eventually own her own galleries throughout Trinidad and Tobago.
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Before I became aware of it, my hair has greatly influenced the way in which I see myself. From a young age, it has been my hair that has helped me to feel confident/ important/ valuable and, therefore, beautiful. This is because I see my hair as a physical extension/ manifestation of my state of mind- when my mind is at peace so is the hair that grows out of it. I only became aware of this connection when I began to grow my natural hair 1 ½ years ago. I began to realise all the ways my hair able to alter my perception of myself. I recently began to reflect on the past four years and have realised that I place a significant amount of value on my hair. The style of my hair is not only one of the ways that I choose to express myself, but it is also how I gauge/ monitor my mental wellbeing. Furthermore, my hair has the ability to trick my mind, in that, if my hair is in good order, it makes me believe that I, too, am in good order, sometimes in spite of what is actually occurring internally. My work addresses my ideas of beauty and value through the manipulation of hair. I liken value to royalty and use hair to create the symbol that demarcates regality- a crown. The use of the hair as a crown is also a metaphor for my feelings about my hair. Like a crown, I see my hair as a symbol of my unique beauty.
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VAKISHA JONES SCULPTURE
This body of work was first invoked by the song “Rolly Polly”, by Grenadian Soca artist Mr.Killa. The song broke many silent conversations and raised the challenged perspective of Plus Size women’s proportion in our Caribbean society. This body of work explores the form of plus size women and how society perceives their proportions. Artist such as Shoshanna Weinberger and Augustine Kassi have embraced plus size proportions in a manner of celebration. My work continues to encapsulate these women in a similar style. BIO: “I never paint dreams or nightmares. I paint my own reality.” (Frida Kahlo) I am a Fine Art artist from the small Isle of Grenada. I graduated from T.A. Marryshow Community College with an Associate Degree in Fine Arts and Information Technology in July 2007. I taught for four years at the CXC level where I truly fell in love with teaching and children who love expressing themselves through art. My work is a combination of painting and 3-Dimensional expressions that mirrors my reality as a Caribbean woman and artist.
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My exploration has manifested in a series of work in ink drawing, sketches, photography, graffiti and sculpture with plastic. Most of my pieces can be identified by the repetition of curved lines that signify the curvaceous form of plus size women and mimic their stretch marks at the same time, that is also known as beauty marks. Most of my work has no background. This was done deliberately to give focus to the plus size form. Transparency is also an intentional strategy I play with in my sculpture piece. Size is often perceived first when viewing Plus Size women. Their personality is rarely seen. This can make them invisible. In my sculpture, I have used plastic to play with the idea of mass and weightlessness. My aim with this project is not to portray plus size women as invisible figures, but to honor, salute and acknowledge them as individuals and women whose beautiful form and proportion are being celebrated visually.
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LISA ALI CERAMICS
“With which ethnic group do you identify?” This was the question that provoked this work. It is a question that I still cannot answer today as I, like most Trinidadians my age, am ethnically blended; a Trinidadian hybrid. Through this piece, I explore issues of cultural identity, cultural pluralism, hybridity and the impact of multiculturalism policies in spaces such as ours.
BIO: Lisa Ali is a Graphic Artist whose creative endeavors have led her to the University of the West Indies to pursue her Bachelor’s Degree in Visual Arts. At the university she was able to focus on her passion for Fine Art, something that she was consistently drawn to throughout the years. Currently in her final year, Lisa has realized that through her exploration of various media that she has a very strong inclination towards three dimensional expressions, and as such, it plays a vital role in her creative project. Upon completion of her degree, Lisa plans to become an Art teacher while simultaneously furthering her own art practice.
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My artwork is a portrayal of a traditional English tea setting. The tea setting, while indicative of Trinidad’s colonial past, serves as a metaphor for the coming together of people from various cultural and religious beliefs. I have chosen the medium of ceramics for this execution, taking note that clay has both cultural and religious connotations. My process consists of research, image gathering and sketching to carefully design my pieces so that they convey my intentions. I then build my pieces employing traditional methods of pinching and slab techniques. Scale plays an important part in the work as it is used as a means of emphasis and power as well as it is used to indicate difference. The work appears to be a hodge-podge of differing pieces, supposedly the remnants of old, broken sets that now serve as a complete set.
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DESIGN
CORNEILIA INCE BRANDING/PACKAGING
This project is centered on branding and creating a brand identity. Focus was placed on creating a brand trademark along with promotional items and packaging. While the Baby Rice display showcases tea, the mission of the brand is to provide a number of wellness products which range from tea to soaps and baths.
BIO: The decision to purse art as Bachelor’s Degree came out my love for the field. Majoring in design was a decision made out my love for challenges. The past couple years have been a great challenge for me because of the spent years away from family and friends in Tobago to read for a certificate in Visual Arts, and now reading for my degree. Hardships bring out your true abilities and challenges lead to growth; over my time studying I am glad to say that I have grown as an artist and a young adult. Learning never ends, so I aim to continuing learning and growing and making full use of all I have gained from attending the University of the West Indies.
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Inspiration came from conversations with my grandmother, who is a connoisseur of bush remedies. The concept of creating a brand emerged from a desire to showcase bush remedies in a marketable manner which would resonate with consumers and encourage them to partake in the tradition of using bush remedies on a frequent basis. The brand is named after my great grandmother in honor of my family’s tradition and support through my years in the programme.
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Darnella Ramdass Design
The inspiration for this project came from an oberservation of the lack of material available in Trinidad and Tobago for the youth population to read on topics such as, The book of Revelations, the “End Times” and the Rapture. This Graphic Novel deals with the question of “what is the age of accountablity?” and will there be a large amount of children and teenagers ‘left behind?’
BIO: I am firstly an art appreciator, even though i am a design student, i have dabbled in both fine art and design in my time at UWI. I always had a facination in comic, animation and conceotual art as a child growing up and it has been my preference as a budding artist. I would like my work to raise questions and start a dicsussion. As a fan of conspiracy theories and mysteries i aim for my work to have the audience thinking and costantly trying to solve the mysteries behind them.
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This novel is purely fictional and is only inspired by events derived from parts of The Book of Revelations. Its follows the story of an orphan, Jacob, in his journey , after being left behind he is left with the responsibility of learning who is father was and the things he dealt with before being ‘taken’ in the Rapture. Follow his journey in this pilot version that shows the introduction of this mystery behind the clues he finds along his way while he discovers his father’s secrets and fights for his life in the process.
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JOSIAH DUNCAN PRODUCT DESIGN
BIO: Hi, I’m Josiah Duncan and i have an undying passion for the Digital Arts. Currently i’m pursuing my BA. in Visual Arts (Special), specializig in Design, My future plans entail someday owning my own Digital Art studio. I’m excited about life and the things within this world and aim to leave a legacy through my craft.
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Just imagine, someone, a mother, an uncle or maybe a child, experiences the life changing, psychologically tramautic event of losing a limb and having to invest into a conventional prosthetic device, which currently costs approximately between the ranges of $3000 to $50,000USD. In today’s modern world of technology people should not have to be subjected to this situation, leaving them without conitive ability and a low esteem due to their amupation. The interests of this project entails exploring the possibilities and presenting a concept of a self assembled 3D printed Prosthetic device for upper limb amputees. It varies specifically from prosthesis design technologies to biomechanics, kinesiology and a bit of material science. It would aim to be significantly cost effective, weight effective and durable.
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SHIVANI SIBARAN LOW POLY ILLUSTRATION
Drunk driving is a global issue for road safety. The consumption of alcohol, even in relatively small amounts, can increase the risk of being involved in a car accident for drivers.
BIO: Shivani Sibaran decided to pursue her Bachelor’s degree in Visual Arts at the University of the West Indies after dipping her toes into the field of Engineering which she quickly realized was not her forte. She is currently focusing on Design although she also has a passion for Fine art. On completion of her studies, she wishes to work with children through Art Therapy. She enjoys experimenting with graphic design, surface design, painting and ceramics.
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Alcohol does not only impair your vision and reaction time, but it is also associated with impaired judgment and is often linked to other high-risk road use behaviours such as speeding or not wearing a seatbelt. Many social awareness projects on anti drunk driving have resulted in the issue being more widely recognized in the community. Drivers have also recognized that drinking and driving is prohibited, but the significant problem still remains. Some drivers deliberately ignore this while others are still unaware of the harm they can cause. In this line of posters, I explore the low poly technique without the use of 3D software. Low poly technique is a technique which was normally used in making 3D models and scenes for video games.
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DEBORAH RAWLINS PUBLICATION
The process that led me to complete this book began years ago, with an idea I had about womanhood, and the way popular culture seemed to place a limit on our belief in the potential strength of a woman. In school and in places where I spent time with friends, I talked about this idea, hoping that my concern would encourage other women to become more excited about embracing their individuality. I never thought about placing the idea in a book however, until I had the opportunity to work on this project. BIO: Deborah Rawlins is a young designer committed to a maintaining a significant purpose for her art. She has studied Visual Arts at Tunapuna Government Secondary School, Bishop Anstey and Trinity College East Sixth Form School and is currently pursuing it as a degree at the University of the West Indies, St. Augustine. She has been a graduating student of Cojwin, Graphic Design School as well. During her years as an artist, she has produced creative pieces in a number of artistic mediums, including paint, sculpture and film. Her aim is to produce artwork that serves as a vehicle for addressing social issues, in a positive, attractive and relatable manner.
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The approach I took to the design of the ‘Woman Power,’ was to make it a vehicle for the examination of ideas and trends broadcasted by the mainstream media, and the impact they have on the way we understand and define womanhood. Its purpose is to encourage people, specifically young women, to examine these ideas, in order to discover the impact these might have on the way they treat their own individuality. My intention is for this book to be the first of many ways I will document ideas in the future. I hope to provide a vehicle for people to explore healthy ideas and perspectives on the world around us, by means of design.
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CRYSTAL HOLDER PRODUCT DESIGN
The aim of this project is to re-introduce our local folklore characters to primary school pupils. Folktales have been in existence for many years. Apart from providing entertainment, their purpose was to teach moral and social values and explain events in nature. Since the Ministry of Education has included integrated arts into the new primary school curriculum which uses visual and performing arts as a methodology to teach; I saw it fitting to design a product that would visually aid in the lesson being taught.
BIO: During her studies at Marabella North Secondary School, Crystal explored areas of study such as textile design, leathercraft, ceramics and product design. Those disciplines inspired a passion for ceramics and product design which led her to the University of the West Indies where she is reading for a B.A. in Visual Arts (Special). Currently she is working on combining design with ceramics to create unique pieces that are both functional and aesthetically pleasing. In the future she hopes to teach Visual Arts at the secondary level while pursuing a Diploma in Education with a specialization in Teaching of Visual and Performing Arts.
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Much consideration went into the choice of product before selecting the desk organizer, as I believe in the idea of function following form in my pieces. Carved images depicting the events are applied on the outside of the forms which creates a contrast between the form of the organizer and its function.
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LEE LUTCHMAN ILLUSTRATION
There are conversations about identity and who we are as people on an individual level. There are conversations that happen about our cultural identity as a region, as a country. There are conversations about extraneous factors that shape or wipe away our culture. I wanted the opportunity to join this discourse in fiction and in the way I knew best - through Visual Arts.
BIO: Lee Lutchman is a [designer/artist]-in-training from San Fernando. She is finsihing up her final year at the University of the West Indies with expectations to graduate in October with a BA in Visual Arts (Special) with emphasis on Design. Her main interests lie in Graphic Design & Illustration and Art Education. She would like to pursue a career as a Graphic Designer to increase her technical proficency before, eventually, working in the field of Art Education. Maybe she’ll even write and illustrate a few books. She is highly susceptible to bouts of writing, sketching and thinking.
With this project, I sought to merge the traditional and the non-traditional, the ‘ours’ and ‘theirs’, the ‘local’ and ‘imported’. Having been drawn to art through anime/ manga-styles, I’m making this attempt to use that as a vehicle to do this. This preview into the world of ‘The Golden Embryo’ focuses on the concept of time and creation in classical Hinduism. Time is a cycle, it has no beginning or ending. Within this beginningless are an infinite amount of cycles of creation. Each starts with a seed that and grows. It also deals with individual identity. Who are you, if not you? ‘The Golden Embryo’ is abaout finding yourself, finding your purpose, being unafraid to be who you are and defining yourself through the people you care about the most.
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JEROME WATSON APPLICATION DESIGN
BIO: Jerome Watson is a developing graphic designer. He grew up in Moruga. He enjoys painting and the challenge of problem solving by employing good design. He believes good design will not save the world however it make it a better place to live in. Jerome has a healthy imagination claims it assists his design work.
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My Bus The my bus Application design seeks to reduce the stress brought about by the uncertainty of the bus’s arrival. The application intends to provide a real time updates that would send the bus present location with to users. This system would communicate information of the public transport system schedule to provide a more pleasurable traveling experience. The application design addresses the bus actual arrival in relation to the proposed printed schedule and focus on the time period between the expected arrival and its actual arrival and attempts to reduce the stress brought about by the uncertainty. The design proposed solutions for problems within the public transport system such as available seating information and securing an available seat, uncertainty of the expected time spent waiting and even suggestions on how to use that time.
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MARSHA TREPTE PRODUCT DESIGN
My past experience working with children has kept me focused on questioning ways to enhance the child’s learning experience and encourage designer thinking among them. My fascination for costume design and fabrication started me questioning, how can children get involved with contributing to positive changes in their society.
BIO: Fine Artist and developing Designer, she has exhibited artwork in Trinidad, Barbados and Spain. Currently she is pursuing a BA in Visual Arts (Special) focused on Design under The University of the West Indies, St. Augustine in Trinidad and Tobago. She has completed many successful projects which includes product, graphic and costume design. Trepte is keen about philanthropy and volunteers as a breastfeeding counselor with The Informative Breastfeeding Service (TIBS), a non-governmental organisation (NGO). Also a former Primary school Art teacher, she enjoys working with children and towards this end her keen interest lies in design for social change. In the areas of graphic and costume design, corporate identity, branding, packaging, book design and costume fabrication appeal to her.
Through this inquiry, I discovered that the traditional art of wire-bending is becoming a lost artform. As I researched further into this phenomenon, I discovered that the National Carnival Bands Association (NCBA) started up a program called the Mas Academy back in 2009 to educate children in Primary schools the Art of masmaking in an effort to save traditional mas. However, this program is limited to remote communities and there is an application process. My design project aims to promote creativity and designer thinking among children through the art of Wire-bending. The 21st century learner needs to be a critical-thinker, problem-solver and work collaboratively. The project serves to provide a solution to these needs that include preserving the cultural artform. Both educators and children have another outlet for creative instruction and learning through the use of the toolkit. Children will have a tangible experience using their sense of touch and motor skills to manipulate materials and tools for a creative activity. This work serves to reflect my attention towards philanthropy work, creating a better future for all.
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SHAHIRA RAGOONANAN PUBLICATION Strabismus, commonly known as “cross eyes,” is the condition of having misaligned eyes. It is most often present in children and infants, but if left untreated, it is carried into adulthood, where it can become nearly impossible to treat without surgery. This is because non-surgical treatment methods work best before the age of 12, when a child is still developing.
BIO: Shahira studied Visual Arts at the University of the West Indies, St. Augustine for 3 years, specialising in Design for 2 years. During this time, she has developed her skills in graphic design, costume design and fabrication, product design, drawing and visual communication. She also has experience with embroidery, painting, and graphic illustration, and frequently enjoys experimenting with fashion design and make-up artistry. Apart from being a full time student, Shahira works as a face painter at various events for children. After completing her studies, she would like to return to her alma mater, St. Joseph’s Convent, Port-of-Spain, where she hopes to teach Art & Design.
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Commonly confused with Amblyopia (lazy eye), strabismus can be detected and treated from as early as 4 months old, but it is usually ignored. This is because it is not regarded as an urgent problem to be dealt with, since most people are unaware of the different effects of having misaligned eyes. There is also the common belief that a child with cross eyes will eventually “grow out of it,” but this is false. In some cases, the eyes may apper to become more correctly aligned as the child develops, but strabismus rarely corrects itself. In fact, avoiding treatment can result in additional negative effects, such as vision loss. “Correcting Paediatric Strabismus” is an informational book, geared towards parents, since they are responsible for the treatment that children receive. It explains the effects of stabismus and its various treatment methods, outlining the steps for different eye muscle exercises that a child with strabismus can practice to help improve, or even correct, their condition. The book is designed to be placed in waiting rooms and offices of doctors, paediatricians, optometrists, ophthalmologists and other medical practitioners. It can also be placed in schools, where teachers can recommend it to parents, or even use it themselves to help treat strabismus in students.
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LEANN GILL PRODUCT DESIGN
BIO: Leann Marie is following her passion to become a successful designer. She enjoys being a student and learning more about her craft as she hopes to make it into a career. Her time at UWI has been a journey of self-discovery and growth. Her studies have encouraged her to claim her Caribbean identity and proclaim herself as a Trinidadian artist and designer. As a designer, she lives by the motto “Meraki, ” (mayrah- kee) meaning, to do something with soul creativity or love, to put something of yourself into your work. As her time at UWI comes to an end, she is preparing the next step in her life, motherhood. Leann will be completing her final year 35 weeks pregnant.
The word “iere” means “Land of the Humming Bird” and was given to Trinidad by its first settlers; The Amerindians. The IERE logo complements the signature designs of the bag to represent Trinidad in a subtle but suitable way. Inspired by the Land of the Humming bird, the symbolism of the “three” is incorporated through out. The ‘Trinity,” plays an important role in the history and geography of the land. In the logo, the three squares personify the Trinity Hills, with out being too literal and do not limit the design to “red, white and black.” The symbolism is repeated through the use of the inverted triangle on the bags, which represents the hills as well as the shape of the humming bird wing. Each design is brought to life with the use of the three distinct colors chosen from a pallet based on the exotic bird. Who is the IERE woman? She is the typical Trinidadian goddess. She is the student, the entrepreneur, the fitness junkie and the professional. As she moves up and down, back and forth through her daily routine, she captivates all living things with her allure, much like the humming bird. She is our mother, our sister and our daughter. The IERE woman is she who inspires us simply by being who she is, owning her Caribbean identity and proclaiming it to the world. I AM IERE. Owning IERE: By possessing a hand made IERE bag you represent the brand and all it stands for. All IERE bags are ethically and locally
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hand crafted and made from 100% natural fibers such as canvas, linen and cotton. IERE bags are washable and recyclable for the convenience of the owner and the benefit of the environment.
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SHANNON DE SILVA UI & UX DESIGN
The problem that I set out to find the solution to was the poor customer service in Trinidad and Tobago but particularly at restaurants. Several options were explored before selecting the app as the most suitable solution.
BIO: A designer who lives and works in Trinidad and Tobago. She is currently in her final year of studies as a Visual Arts Major at the University of the West Indies. Her focus is in graphic design and her other work includes product design, app design, and contemporary art. She has a delicate yet commanding style as a designer. Her interests for future work include designing for social change and sustainable design.
This app, called Feedback, allows restaurant goers to express their thoughts and share their experiences at the restaurants in several ways. They can answer a survey which asks specific restaurants, they can rate the restaurants from 1 to 5 stars, they can write a review which allows them to freely express their thoughts on the srvice or they can uplaod photos to allow other restaurant goers see what they may expect to see at the various restaurants. For each activity users of the app get points and at the end of every three month period the person at the top of the leader board will be rewarded for all of their valubale feedback with a dinner voucher to either their favourite restaurant or to the restaurant that has the highest ranking in terms of customer service. The app also features the top restaurants in customer service creating a sense of competition between the restaurants so that they will be encouraged to improve their customer service standards.
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Head of Department: Jessel Murray Visual Arts Co-ordinator: Lesley-Ann Noel Visual Arts Faculty: Keith Cadette, Ken Crichlow, Lesley-Ann Noel, Steve Ouditt Visual Arts Adjunct Faculty: Akuzuru Jade Achoy Paulette Alfred Michelle Boyd Stefano Caines David Cave Elsa Clarke Deborah Clement David Collymore Selva Edwards Kwynn Johnson Michael Lee Poy Che Lovelace Marsha Pearce Azeem Rahaman Richard Rawlins Laurence Richardson Rachel Rochford Shalini Singh Adele Todd Visual Arts Demonstrators: Curtis Alleyne Arnaldo James Sylvanie Jack-Thorpe Kendall De Peaza Olujinmi Agboola Robert Noel
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