Artist Statement

I see my art practice as an investigative tool, as a way to engage in dialogue, a platform for thinking and a means to develop knowledge. My work has evolved from figurative and symbolic explorations in painting to a variety of modes that include drawing, video, performance, installation and public intervention projects. Therefore, the emphasis of my work does not lie in the medium, but in creating a space to explore social contexts and collective narratives. History, film, soap-operas, fairy-tales and mythology all inform my work in that they are both narrative modes that I use as well as sites of investigation. I look for the narratives inscribed in various objects and places and find ways to add to them and at times subvert them. Because I live in the Virgin Islands, a place that has changed colonial hands seven times, the longest being Denmark and the last being the United States, I am particularly interested in the colonial and neocolonial narrative and how it shapes identity, memory and reality. (return to website)

Wednesday, October 26, 2016

Finally picked a title for my solo show in Denmark in March 2017: LEDGERS FROM A LOST KINGDOM


Just finally came up with a title for my solo exhibit at |meter| in March 2017 in Copenhagen, Denmark.

 LEDGERS FROM A LOST KINGDOM

It was inspired by summarizing the two main impressions from my trip this summer 2016. The first impression is about the documents. There is this overwhelming amount of written information, photographs, records that is becoming available in the next few months leading up to the Centennial of the transfer of the Virgin Islands from Denmark to the US. But as I had the opportunity to look at some of the information and archives in various institutions what struck me was how imbalanced the records are. To use an accounting term,  how “unreconciled” the accounts are. There was all of this transactional information about the colonies. Even the way the Virgin Islands is still currently presented in the Danish National Museum is in a section that talks about the colonial trade posts. And there was this feeling that the people were missing, the souls were missing, our stories were missing, how we were affected was missing. And I wonder how could that be in the ledgers too? When learning about the archives in the Danish National Museum that dealt with the Virgin Islands I learned that there exists a collection of items that were made by the enslaved population. Things like a hammock, a drum, various gourds that were beautifully decorated and guitars. I realized that it was the first time I had ever seen anything that was made by them. In museums the enslaved are generally represented by imagery, chains, torture tools, things like that. The humanity gets lost. But seeing these beautiful objects was really life changing for me. It shifted something inside of me. And I want to find a way to document that. 

The second impression was that this time around I was overwhelmed by many Danes making statements about a "lost paradise", lamenting that they "sold us", suggesting that maybe they should have "kept us". It was particularly jarring to have someone suggest “we should buy you back”. Apparently a Danish scientific blog had an April Fools Day joke that included showing a manipulated version of the 1916 check for 25 million dollars with a disclaimer on the back saying that in March 31, 2017, the Danes could buy the Virgin Islands back from the US for the same amount. Interestingly enough many people did not realize that this was a joke and somehow it got into the collective consciousness as many people talked to me about it upon meeting them. I don’t think it helps that with the increased tourism between Scandinavia and the Virgin Islands with direct flights on Norwegian airlines and tour companies like Bravo the marketing has centered upon the resurrection of a mythology of the “lost paradise”, a "Danish West Indian playground". So I wanted to find a way to talk about these things and center my exhibition on these concepts. There is a need to "reconcile the books”, the ledgers, both the financial accounts and the social narratives of what was truly lost, where the imbalances occurred, where the discrepancies are. I am so grateful for the opportunity and look forward to March 2017!

NOTE:

And on a side note, because I love side notes. I live for them, they are everything! I obsessed a little over which preposition to use in the title: “of” or “from”. Upon researching the definition of both I realized that I preferred to use “from” which denotes distance and location as opposed to “of” which denotes belonging. This is “our” shared history, not just the history from some isles in the Caribbean, but European, American and African history. So I chose to focus on the location and the distance that “from” implies.

Monday, October 24, 2016

Group Exhibition: WHERE IS HERE at the Musuem of the African Diaspora


Honored to participate in this exhibit at the Museum of the African Diaspora in San Francisco. I am showing two pieces: Cuts and Burns and an installation that includes my Chaney paintings.
To see more, click here:Where is Here