FEATURED WORK
A Hymn to the Banished explores connections between Scotland and Barbados through a newly commissioned artwork as part of the National Trust for Scotlandβs ongoing mission to face the legacies of slavery and empire in its properties.
In lightly, tendrils, Annalee Davis and Amanda Thomson examine nature and landscape, with work rooted in the artistsβ experiences of living in, walking around and mapping their respective landscapes of Scotland and Barbados
"Staple: Whatβs on your plate?β is one of the opening exhibitions for the inauguration of Haay Jameel, the new community arts centre opened in Jeddah by the Art Jameel Foundation. This show was produced in collaboration with the Delfina Foundation, based in London.
I am showing The Parasite Series for the first time in the group show And if I devoted my life to one of its feathers? This joint exhibition of Kunsthalle Wien and Wiener Festwochen, is curated by Peruvian-based independent curator Miguel A. LoΜpez with the support of Curatorial Assistant, Laura Amann combines works by more than 35 artists from around the world, located everywhere from the Amazon region to Australia, from Guatemala to India.
I am excited to announce that a new series of my drawings titled As if the Entanglement of our Lives did not Matter, is part of the exhibition βFlorilegium: A gathering of flowersβ which brings together new and existing works from 4 contemporary artists and more than 40 established botanical artists. a
My new sculptural work, (Bush) Tea Plot β A Decolonial Patch for Mill Workers, expands on my 2019 permanent installation at the EBCCI, UWI, Cave Hill, (Bush) Tea Plot - A Decolonial Patch. The installations link to shared industrial and colonial histories on both sides of the Atlantic; exploring environmental resilience, regeneration, and healing through the use of wild plants before medicine was widely available.
FEATURED PUBLICATIONS
βCuratorial approaches across the Caribbean region have often been vehicles for challenging and dismantling exclusionary global frameworks in visual art engagement. Nestled within this, have been artist-led platforms in the Anglophone Caribbean, such as Fresh Milk, ARC Magazine and Sour Grass, and the collaborative projects that stem from them. Such initiatives have arguably endeavoured to engage diverse archipelagic connections and expand self-determination in Caribbean visual languages, exploring new approaches to curatorship.β
Despite a long tradition of plantation archaeology in the Caribbean, there has been little engagement between archaeologists in contemporary Caribbean artists who similarly think with and through material culture. We here outline an interdisciplinary project that incorporates archaeological and artistic practice as a lens through which to understand the history of plantation slavery in Barbados and the significance of its material vestiges in the present.
βWhile sugar offers some commonalities between the Caribbean and Eastern Europe, specifically through capitalism and entry to European markets, our initial relationship to its production and continued impact on our societies is markedly different. β
To be native to a place we must learn to speak its language.
The land knows you, even when you are lost.
The quarterly Barbadian and Caribbean arts newsletter RA (Representing Artists) was produced in the early nineties, spearheaded by a group of Barbados-based artists who saw the need to create a forum for more critical writing around contemporary arts in the region.
