She works at the intersection of biography and history, focusing on post-plantation economies by engaging with a particular landscape on Barbados.
Contemporary Middle Passage (here) and (there)
Sixteen feet long and six feet wide, this double sided work on a single piece of paper shows on the (here) side, a woman falling in the abyss, holding onto her umbilicus, trying to situate herself between a island image seen through rose coloured glasses at the foot of the painting, a royal palm and a hand reaching for a rooted home. On the reverse, the woman flies high in the sky, head amongst the birds, luggage trailing behind, suspended in a Caribbean migrant dilemma between here and there.
Rooted with Passion
Created in the Blue Mountains of Jamaica at a Triangle Trust Workshop, this experimental work became the seed for many years of work that explored notions of home, migratory routes and rootedness. It included a series of drawings on paper with a spinal column sprouting wings, nests, birds flying and houses setting down roots in reference to the Caribbean as a migratory space.
Wounded Across all Innocence
The theme of wounds continues in another triptych, this time an explanation is sought with an attempt at healing.
Scarred Dream
Scarred Dream was exhibited at 22nd Bienal de São Paulo under the title Rupture as Support, curated by Nelson Aguilar.
The Things We Worship
In the early nineties, I was responding to heated national debates questioning the future of a landscape caught between a sugar industry with its weighty associations with slavery, sugar production costs that were among the highest in the world and the development of tropical islands as exoticised playgrounds for foreigners, catered to through the development of golf courses, ever grander hotels and possibly casinos. The Things We Worship exposed contradictions that, if left to prevailing market trends, would go unchallenged.