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Showing posts from 2015

Storm (and other violent distrubances of the pintoresco)

I have been working on a new series of drawings on charcoal. Over the past few months I have returned to 2-dimenional works after years of working in video, installation and performance. It has been a very interesting process for me predicated by the time constraints that I have to be in the studio. A lot of the work I have been making is work that I can get immersed into quickly (and leave quickly as well) and that contain repetitive marks or actions.  I am also really examining this idea of returning to this kind of image-making and what that means to me, from this region and space and time, and what I would like to interrogate. It's almost become taboo to work with beach scenes and palm trees and I wanted to challenge myself to do that while at the same time questioning the same archetypes and stereotypes, looking for what could I add to that narrative.


What I most enjoyed and that came as a surprise while making these works was the tension between the fragility of charcoal on …

Found this shirt and it reminded me of my painting

I found this shirt and it remind me of my painting, the Chaney series I've been working on for about a year now. Up until now I have been focusing on the blue chaney but would like to explore other colors too. I also have been curious about what these patterns would like like on the skin. This shirt gives me a little bit of an idea. 

New work, new space

This is a prototype. I may go bigger and/or multiple. I love it. I love the straight cuts on the coral that show the craftsmanship of the enslaved. It's like a "readymade".  These came from the crumbled foundation of the outhouse on the East St. property. I am happy to have found a way to use them.

 This is the beginning of a series of work based on the images from fretwork in the town of Frederiksted that was rebuilt after the 1878  Labor Revolt, aka "Fireburn". The cuts and burns in the papers use the two main tools of resistance used at the time.

The third in this series. I like working in this size, 48x60, but I think I want to go bigger!






Interview (video)

I was interviewed by one of my students, Denise S. Canton earlier this year for a photography class she was taking in Maryland, USA. If you have 30 minutes and want to more about my work and background check it out. I talk about earliest influences, my transition to becoming an artist and what's it's like to be an artist in the Caribbean. I also discuss some regrets and some challenges in sustaining a creative life.

Chaney, Chinoiserie

What I find most interesting about this Chaney Project is that re-imagining of cultures through the flow of material objects during colonialism. On some of the fragments you find "Chinoiserie", which is European re-imagining of Chinese porcelain. However the Chinese also started imitating the European re-imagining of their culture.Some of the plates had stories attached to them like this one, a kind of Romeo and Juliet type of story. I hope to do 10-15 of these large scale paintings. They are fun and exhausting, tedious and exhilarating. They come together like a jigsaw puzzle as I study the images and see which pieces make sense. I am not too concerned with exact re-presentations. Although keeping pretty close to the image, I also at times edit them, extend them, I enjoying the process of seeing how the tangle into one another and form something new. I'll be showing the third one of the series at the Open Studio, this Friday, July 3, 2015 from 4-7pm. You are invited!!



OPEN STUDIO

Finally, I am happy to announce that I am finally, FINALLY having an open studio at my space on East St. otherwise known as The House That FREEDOM Built. I am also super excited about the new work and the activation of this cultural space transformed from an abandoned derelict.  Please join me!


New Studio, New Projects

Soooo I have moved into my new studio. I need to clarify that it is not as if I had a previous studio before so that it's not new in this way. I had to surrender my studio space at home as the family expanded. It is neither new in the sense of a new building because if you have been following my documentary project  "The House That FREEDOM Built" this building is over 250 years old. It's new in the sense that it's new beginning for me and the fulfillment of a lifelong dream. It's my art lab. And currently internet free on purpose (except for my cell phone). And also at the moment without a computer, so far, so that I can focus on the production of art and keep distractions to a minimum.
I have begun working on two new projects: one, not so new and the other pretty fresh.






“CHANEY: stories from migrant fragments”


During the 250 years of Danish colonization of the US Virgin Islands, people, products, memories, stories, cultures and languages were transferred and t…