Wounded Innocence, Across All Boundaries, Roses & Thread (1994)

Mixed Media on Canvas – Triptych.

8’h x 4’w Photo                                                       Credit – Steve Cohn

Artist's Private Collection, The Milking Parlour, Walkers Dairy, St. George, Barbados

“The theme of wounds continues in another triptych, this time an explanation is sought with an attempt at healing. In 1992, Annalee co-founded RA (Representing Artists) a union created to give voice to artists, educate the public about art and to raise standards of excellence. Its existence was short-lived with the final of six newsletters published in mid-1994. Ironically the very barriers it was envisioned to cross over would prove instrumental in its destruction. Class divisions and racial polarity proved too raw and infected to be merely bandaged up. Wounded Innocence is about betrayal, a betrayal based on ignorance. Prejudicial biases handed from one generation to another forever branded on the minds of our impressionable youth. A large gaping wound emerges menacingly from an enclosed garden. The garden, a metaphor for the cycles of life, becomes the wound from which we emerge into a hostile environment, creating an eternal abyss between our people. A ghostly contoured drawing of a hand appears, its finger hesitantly probes the wound, searching only to discover that it extends Across All Boundaries of society. Printed images by the artist of a previous work (Putting on my blackness) portray her soul-searching and questioning of identity. Roses and Thread conveys an attempt at healing. Here, roses spring to life, fertilized by the artist’s attempt to cross boundaries (Putting on my blackness), the garden becomes the guide to reconciliation as the hand begins to stitch together the wound, seemingly unaware of the foreboding streaks of dried blood that remain.”
Colleen Lewis 1997 extract from catalogue article.

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