Sweet for the Sweet, ink drawing on found object and photography, 2017.
Studio time has been pretty free style. A conversation in the mind has produced interpretations of figures scribbled on pieces of paper found on the floor of the studio space as I examined the life of a Caribbean sugar cane planter.
Taking a step back I questioned the indirect movement of contour lines in my drawing style and the quality of brown paper I chose to rub in ten years of stored charcoal dust. A sense of reality hit me that this was the quality of life post-independence Caribbean sugar cane planters lived. Many sought work in the fields and received patches and pieces of “sweet living” at the corner rum shop or matinee show, to laugh their worry away after earning 25 cents an hour.
I seek to unravel a post independent Caribbean narrative and insert that into a global space where issues on identity and belonging have consistently been the narrative in contemporary art today. The idea to create a draft board of random sketches then deconstruct and condense the narrative has become an integral part of my process.
Lately, the work of British Artist Hew Locke has drawn my attention to the use of language and choice of materials to engage a global conversation on colonialism. His recently commissioned installation “Cui Bono” hangs in the Town Hall in Bremen, Germany as part of the exhibition “The Blind Spot” 2017. Locke explores languages of colonial and post-colonial power and how cultures fashion their identities through visual symbols of authority and how they are altered with time.
Using texture and found objects in my previous installations has enabled me to alter yet preserved notes from history’s page to convey messages with attention to time and relevance.