She works at the intersection of biography and history, focusing on post-plantation economies by engaging with a particular landscape on Barbados.
Sarah Clunis on Annalee Davis
“The result is a series of hybrid juxtapositions of objects that examine the relationship between past and present issues of land use.”
By Sarah Clunis
Caribbean Journeys
Caribbean Journeys is an ethnographic analysis of the cultural meaning of migration and home in three families of West Indian background that are now dispersed throughout the Caribbean, North America, and Great Britain. Moving migration studies beyond its current focus on sending and receiving societies, Karen Fog Olwig makes migratory family networks the locus of her analysis. For the people whose lives she traces, being “Caribbean” is not necessarily rooted in ongoing visits to their countries of origin, or in ethnic communities in the receiving countries, but rather in family narratives and the maintenance of family networks across vast geographical expanses.
Sweet Island Cookie Cutters – Sweet Fuh So!
In 2007, Sweet Island Cookie Cutters – Sweet Fuh So! was commissioned for Happy Island – Encuentro Bienal Contemporaneo Di Caribe in Aruba, curated by Jose Manuel Noceda. Later, in 2012 – 2013 it was included in the Caribbean: Crossroads of the World exhibition and displayed at El Museo del Barrio, curated by Elvis Fuentes. In 2014, it was included in a revised version of Caribbean: Crossroads of the World at the Pérez Art Museum Miami (PAMM), curated by Elvis Fuentes and Tobias Ostrander.
Just beyond My Imagination
The title of this work is adapted from the Barbados Board of Tourism’s marketing slogan “BARBADOS – Just Beyond Your Imagination”. Having hosted the Golf World Cup Championships in December 2006, complete with international ESPN coverage, the small island developing state of Barbados (21 x 14 miles) saw the island transforming into an international golfing center.