The Japanese concept of Ma can be described as empty space, as a gap between one thing and another, or as a pause within movement or flow. Yet it’s much more than just empty space. It does not actually describe a physical space created by objects or structures but refers to the essence of the energy or intention that is felt or experienced in that space. Through lockdown, one can say that we have all had a chance to ponder on what truly matters to us, the essential and what it all boils down to. What are we, but billions of neurons telling a story? How do we see “self”? Raw is a response to a collective experience (COVID 19) - through multiple artists’ perspectives. When borders close, boundaries redefined.
“When the presence of other people begins to fade, as it did during this period, your own pulse becomes louder. It makes the artist remember that the act of making art is itself like an act of nature. The process of painting with all its twists and unevenness also carries a shape...a rhythm... an order. One only has to listen to one’s own heartbeat and open the eyes and look; even if it is just an arms length away. The magic and intrigue of the world begins right there.�
-Che Lovelace
Fighting Wasps ....Jep . Che Lovelace . Assorted pigment on board. 30 x 25� .
Portrait with Capuchin Monkeys Che Lovelace . Assorted pigment on board. 30 x 25� .
Last Gasp . Bunty O Connor . Sculpting clay with a Raku firing. 12” x 5” x 6”.
When the Covid pandemic first began, I found myself wondering what it would be like to be taking my last gasp of breath. I wanted to make a ceramic object that would nail that moment in time, to have something to look at in the same way we register the victims of the volcanic eruption that froze the people of Pompei in their moment of death. Later on I felt despair that I would never see my children again or that I would loose my beloved companion. The future stretched before me bleakly and for a time I was utterly incapable of shaking loose, breaking out, finding a solution or even turning the moment into something to laugh at. The Covid epidemic has been more than just an interruption in our busy lives, it has given me time to look at buried emotions and to move forward in a positive way. - Bunty O Connor
Scar Cushions This body of work was created for a group exhibition based on what it was like for us as artists during lockdown. To create these #softsculptures I begin with blind drawings on paper then I transfer these drawings onto diaper fabric with a needle and thread. This was my way as an artist to make the uncomfortable topic such as pain and recovery from childbirth - comfortable. This body of work was made for myself and others who need deeper healing and are struggling through birth or miscarriage trauma. The tares may have healed But the tears have not dried and the loneliness is real.
Jade Drakes in the Studio
Scar Cushion V,III and II . Jade Drakes . Blind drawings on diaper fabric with embroidery thread.
These Words Have Lost Their Meaning. Horacio Hospedales . Grayscale charcoal, pencil, gesso and varnish . 60 x 60” Detail.
In 2015 I started working on a series of paintings that were driven by my earliest childhood memories of typography and its inluence on my information gathering in the mid to late 1970s, Trinidad and Tobago. My father was an accountant at the Port Authority and by the age of 7 or 8 I saw stencils as a way to drive important information forward while remaining relatively anonymous. I found the stencilled ‘POST NO BILLS’ advisory on random walls and lamp posts intriguing; a fascinating public space deterrent without the need for additional enforcement other than those three simple words. Around February 2020, I started getting comfortable with the idea that this painting (titled) ‘These words have lost their meaning 2015-2019’ was more of a portrait, a crashing reflection of the info age and the tumultuous time we in, an echo from the past, an analog snapshot combined with the fake sound text makes when it is separated from the origin of its inference. -Horacio Hospedales
Disjointed . (2020) In this disjointed image, the head of the ship is disconnected from its tail – similar to countries like the United States, which left its individual states to fend for themselves. To me, this image represents a lack of connection between the world’s leaders in the handling of and ability to coordinate a cohesive response to dealing with and caring for the world’s people, and the resulting catastrophic effect on global economies. Pigment Ink Print 15.67x5.75
Rock the Boat (2020) I got into the sea to shoot the ship, as I wanted to capture the feeling of the current and the waves as the ship floated on the mercurial sea. This image also tries to represent the movement for change taking place globally due to the Black Lives Matter movement. Pigment Ink Print 15.67x5.75
Still Life / Still Lives–Not so Enchanted I have always been drawn to water. Water is a powerful force and the perfect metaphor for conveying so much about life. My recent exhibition The Weight of Water was a visual exploration of water and my evolving experience of it. Continuing in this vein, my current work is hopefully an empathic look at the not so enchanted quarantine of over 300 lives, trapped by Covid-19 aboard the cruise ship Enchantment of the Seas. My photographs respond to how deeply the imposed isolation affected the cruise ship workers on this vessel and, by extension, how the pandemic continues to redefine our very way of life. Still Life | Still Lives is a play on words I started considering during my own isolation, simultaneous with the global mandatory lockdowns. I began this new series by photographing objects of past and personal significance, talismans I returned to for stability and comfort. Dead flower arrangements progressed to more spontaneous and internal investigations—self- portraits in the water and on land. Then the Enchantment of the Seas arrived in our waters and our nationals began their quarantine, floating without destination on the mercurial sea. This unprecedented situation seemed so symbolic. Still Life | Still Lives: the compartmentalized ship as the larger all-containing still life, and the 300 quarantined workers as individual still lives. Although every photograph is a still, many images capture extreme movement, energy...upheaval.
Similarly, while stillness can bring quiet and calm, the forced stillness of Covid-19’s closed borders and isolation has also brought fear, anxiety and uncertainty. It has had an immeasurable impact on me, and has been catastrophic for the state of the world and its economies. In this charged climate, George Floyd’s murder by police officers exploded into global protests and racial unrest. And now, during this election and hurricane season, we find ourselves in a perfect storm—the Corona virus pandemic, the Black Lives Matter movement, lockdown and isolation, the stubborn racial divide...and an actual tropical storm the day I photographed the cruise ship—everything spinning together with the turbulence of the sea, the blinding rain and gale-force winds, the captive cruise ship workers in their despair, and beyond...the world reeling and in chaos. The movement for change is also a perfect storm. We can no longer view life through the same lens if we are to achieve equality and justice for all. It takes a worldwide movement to change the world, and the winds of change are upon us. The tides are turning and, hopefully, the time of Corona will be defined by massive social, cultural and political movements effecting lasting change. Regardless of Coronavirus and its effects, and the personal and shared states of turmoil and uncertainty, this is Still Life. In spite of everything, life, like the ocean, goes on in its unfathomable mystery. -Abigail Hadeed
Not so Enchanted (2020) The Royal Caribbean advertisements for this cruise ship are nothing like what I saw and photographed. The ship had the look and feel of something out of a horror movie. The distorted perspective of the ship is the feeling I have had for a long while about what the Coronavirus has brought to the world. It mirrors the new abnormal reality we are now having to readjust to and live with. Pigment Ink Print 6.67x5 inches
The Workers (2020) The workers came to our rescue after hearing our mayday call several times on channel 16. We never expected that we would actually see anyone from the ship – at the time we were hoping to be rescued by our coast guard. All of a sudden, a small opening appeared on the port side of the ship, and there were about ten workers standing there, looking at us like we were crazy. Pigment Ink Print 6.67x5 inches
The Ghost Ship (2020) Blinding rain and gale-force winds tossed our small pirogue around in the water. We went from not being able to see the ship at all through the curtains of rain, to its mysterious appearance out of nowhere. It reminded me of how, like a phantom, COVID-19 mysteriously appeared, to change the world forever. Pigment Ink Print 6.67x5 inches
The Gulf (2020) The Gulf of Paria is the body of water that separates Trinidad from Venezuela. The ship is there, some four miles off the coast. This body of water must feel like the abyss for the workers stuck at sea, and the many refugees trying to reach Trinidad to escape the hardship of Venezuela. Pigment Ink Print 6.67x5 inches
Venting (2020) I see this image as symbolic of the overall experience not only of the workers stuck in confinement in small cabins without fresh air, but also how the global movement for change literally blew its stack and burst onto the streets worldwide. Pigment Ink Print 6.67x5 inches
These are Pigment Ink Print to archival standards. Note: (work in Progress) a/p These artist proofs are trial prints to see the current state of the print while it is still in process. In general you can assume that a print that is marked as AP or A/P or A.P. has the same impression quality as the rest of the edition, not better nor worse nor ‘half-baked’. Still Life Still Lives | Not so Enchanted is an edition of 5 A/P
Raw-men. Dean Arlen . Paper, wood glue, spray enamel, acrylic paint, epoxy, oil paint, graphite. 60 x 60�
Exploring RAW – NESS - conjures the primal instinctive savagery in making. How far can savagery survive in this modern economy, what are the limitations, the editorial conversation in containing the line, texture, temperament – the pure elements that start the blocks that build into the constructive language – of contemporary of art – The modern body is experiencing an element of RAW – NESS – as I write this I am wondering what needs to be done to push that weight or suggestive line of form – while working around the modern economy of cultural representation. This is the challenge in RAW – is being RAW – the work being presented is one step in exploring the primal part of making and marking, which is embedded in the urban space. We can find it in the innocence of our children, etched into walls exclaiming our pain as our brothers and sisters die. RAW, is the cultural corruption, the death of a carnival from a “Tribe-al- Capital”, the pollution of our creativity, Dat is RAW – the brutality, the uninspired dull politicians – RAW – is the angst of my brothers and sisters to be themselves – to be RAW! RAW – can be so many things – here – the intent is seeking – in paper, stone to mark a story of a political, philosophical – mile marker in this space – for a moment as I move further into my RAW – NESS. -Dean Arlen
Hanging Together . 2020. Roberta Stoddart . Oil paint on primed hardboard and stretcher bar. 9 x 6�
His Excellency Grand General Chairman Corona. 2020. Roberta Stoddart . Oil paint on primed hardboard and stretcher bar. 9 x 6�
Steppin’ Out. 2020. Roberta Stoddart . Oil paint on primed hardboard and stretcher bar. 9 x 6”
Killer Mix. 2020. Roberta Stoddart . Oil paint on primed hardboard and stretcher bar. 9 x 6”
Hazbat. 2020. Roberta Stoddart . Oil paint on primed hardboard and stretcher bar. 9 x 6�
In the earliest world when all was dark, the bat was born. Half-bird, half-beast, this liminal, mysterious and erratic creature is somehow apart or in-between, and does not fit into the normal order of things. From the dark underworld comes the bat, ambiguous mentor of the foreboding night, gliding to its banishment with supernatural trickery, magic, witchcraft, shape-shifting, malevolence, death, destruction and decay. Re- imagined as fictional characters in popular culture, this nocturnal animal becomes legions of versions of the evil vampire Count Dracula and the hero Batman. Positively aligned in some cultures with happiness, longevity and good fortune, bats also present as sacred spirits – intuitive, watchful, wakeful, and vigilant. Images of bats appear in Heraldic symbols, coats of arms and State insignias. In the beginning, human beings and all living creatures existed together in harmony, mutual respect and inter-dependence. Then humans disregarded animals’ rights, provoking their hostility. Human beings do not share the planet with animals and with nature. Instead we dominate and inflict unimaginable suffering on most life forms and on each other, resulting in climate change and an alarming number of other escalating catastrophic events. Man’s destructive environmental, ecological and lifestyle practices coupled with his invasion of animal territories, create Monster Mergers in which viruses invade human bodies as their hosts. Deadly diseases have been unlocked – more recently the 1918 Bird Flu Influenza, HIV/Aids, Sars, Mers and Swine Influenzas. Despite being generally beneficial to our planet’s ecosystems, bats are the most likely source of the novel Coronavirus. The highly mobile, social, and long-lived bat is a natural reservoir of many pathogens and is perfectly situated to spread disease. The great Amazon Forest, often referred to as “the Lungs of the World”, is now being plundered and stripped of its resources at breakneck speed by corrupt political practices and big business. What new and as yet unknown diseases will be unlocked from the Amazon jungle? The world has been forcibly brought to its knees by Covid-19. Surely, this is THE “opportunity of our lifetime” to change the way we live. But will we change? Or will we continue in our self-inflicted suffering towards early extinction? -Roberta Stoddart
A Sense of their Existence . Shalini . Acrylic on Canvas . 18 x 14�
A new world they say; and all emotions more than written are felt by every heart that braces for the tide and the markings that are left behind ... We hold on to each other just a little longer. We are no longer only storytellers; we are part of the story - Shalini
The Pause Collection
As we all know it’s been an unusual and challenging time, these last few months. Something most of us have never even considered a possibility in our lifetimes but this is our new reality. When I couldn’t face going into the workshop early on I started sketching and while I was trying to get my head around ideas for work, one graphic image kept presenting itself; that of a circle sliced by a straight line along various chords but never along it’s diameter. The circle becomes segmented, divided unequally, changing the whole permanently. In some ways it is reminiscent of a Stop or No Entry sign as it feels like a call to halt – what was routine is no longer possible or even acceptable. Hold tight. It does feel raw. There is a flipside though; slowing down, the personal connections and realising there is still so much to be grateful for, so much potential beauty around if we just look, and creation of beauty through art is essential. -Janice Derrick
Chain . Sterling silver box chain with triple circle and line pendant. Chain . Sterling silver box chain with single circle and line pendant.
Chain . Sterling and oxidised silver circle and line links .
Janice Derrick . Brooch – Large sterling silver pin. Earrings – Long, sterling silver with stud backs.
A Series of Suggestions . Edward Bowen . Mixed Media on canvas . 6 x 8’ .
These days I am not trying to make any kind of sense except for the most basic and everyday domestic functions in an unpredictable landscape. I see no point in being concerned. One of the most difficult things in my life is the making of a painting, a process where I am duty bound in searching for often elusive harmonies, a continuous intellectual sacrificing on a flat surface, there is no comfort in this until the work is done. Most of the time it’s a bit like scraping one’s brain with a toothpick .
-Edward Bowen
This is as Raw as it gets. This series deals with the lockdown ... It had its ups and downs. On mornings, walking around the Savannah trying to enjoy the pouis in bloom before having my coffee and the Morning news. Oooomg sometimes it can be too much NEWS ..... Sometimes it feels like it’s a radio on in my head .. I ask myself “What the ass is going on in the world right now and in Trinidad?’ I can’t let it get to me even though I might be a little frustrated, Not knowing how this is going to affect the small businesses and artists. Lots of talk S.E.A or no S.E.A , Carnival no Carnival, Wear your Mask in the Banks and Supermarkets but not in the Bars, Drink up man drink up. “We happy yes ...... Oh wait, Now we have Elections! -Ashraph
Lots of Talk I, II and III. Ashraph . Cedar, newspaper, paint, felt . Sets of 3 .
Serenity Prayer . Susan Dayal . 13 Hummingbird Sculptures 18 - 22 gauge galvanised wire, nylon fishing line, bamboo .
“ Lord, Grant me the serenity to accept the things I cannot change, courage to change the things I can and the wisdom to know the difference.” 2020 began with a sense of foreboding. For 12 years, I have listened to my husband espousing collapse propaganda, leaving me depressed and anxious. Driven to “do something” I spent the Carnival weekend creating a food garden. 2 weeks later, it all made sense as COVID 19 started spreading across the globe towards us like a slow motion trainwreck. During the lockdown, working in my garden, with all its triumphs and failures, kept me sane. -Susan Dayal
Empty Spaces . Sonya Sanchez Arias . (Urban Angel #1) . 2019 . Mixed Media Assemblage. 90” x 22” x 7”.
Making art is personal and unique, it is a way for me to look within myself, take my experiences, enrich them by filling the cracks with memories and emotions, and channel them into my art. By exposing myself, and revisiting my experiences, I attempt to understand complex ideas, concepts of cause and effect, and in so doing, provide others with the opportunity to see me from the “Inside Out”. No one is born wearing a national flag, a religious symbol, or a socially constructed identity. We all come into life naked and, hopefully, screaming. However, as we move through life, we’re affected by the culture we live in, the politics and circumstances of our time and place, and the way we move through the world in reaction to these influential forces. My pieces usually begin with a nagging thought usually instigated by current affairs or personal challenges. I certainly don’t pretend to have have any of the answers, but through a process of unearthing and experimentation, each new piece, helps me explore options for closure and creates a deeper, understanding of the topic at hand. Using discarded, recycled and alternative materials allows me to challenge the concept of beauty - for beauty to have meaning it often needs to have a flip side of darkness. One thing is certain, we all need to do our part and start thinking about the possibilities and potentials for alternative futures using materials that already exist all around us. When I make a piece, I create something that didn’t exist before, whether it’s found objects transformed into a mixed media assemblage, a paper dress or Art jewelry made from recycled materials. I am always hopeful that through the process of excavation, discovery, transformation and exposure, my art connects people, bringing understanding and perspectives that have the potential to challenge norms expectations, thoughts and judgments. - Sonya Sanchez Arias
Empty Spaces by Ernest Hemingway “If there’s empty spaces in your heart, They’ll make you think it’s wrong, Like having empty spaces, Means you never can be strong, But I’ve learned that all these spaces, Means there’s room enough to grow, And the people that once filled them, Were always meant to be let go, And all these empty spaces, Create a strange sort of pull, That attract so many people, You wouldn’t meet if they were full, So if you’re made of empty spaces, Don’t ever think it’s wrong, Because maybe they’re just empty, Until the right person comes along.”
26 Taylor Street, Woodbrook, Trinidad and Tobago, W.I (868) 628 4165 | yartgallerytt@gmail.com Opening hours: Mon-Fri 9am - 5pm | Sat 9am - 2pm Raw Design by Melissa Miller Photography: Images of Roberta Stoddart’s Paintings by Abigail Hadeed Still Lives Series by Abigail Hadeed, Images courtesy Abigail Hadeed Image of Empty Spaces (Black background) courtesy Sonya Sanchez Arias Images of Janice Derrick’s Jewelry Collection by Michele Jorsling Images of work by Che Lovelace, Ashraph, Bunty O Connor, Dean Arlen, Edward Bowen, Horacio Hospedales and Shalini by Melissa Miller. @melissa.miller.photo Dteail shot of Empty Spaces by Melissa Miller. @melissa.miller.photo Raw Design and Catalogue design by Melissa Miller Curatorial Statement by Melissa Miller @yartgallerytt 2020