Caribbean Contemporary

Canute Caliste

Canute Caliste’s paintings celebrate the natural beauty of the Caribbean while also capturing the fragility of its ecosystems. His work emphasises the need for environmental stewardship and highlights the devastating effects of hurricanes on traditional Caribbean lifestyles, serving as a call to action and urging viewers to protect their environment.

“Carriacou has many examples of the presence of water spirits or mermaids. Carriacou’s mermaids seem related to Mami Water, the ubiquitous water goddess in West Africa. When we look at Carriacou’s mermaid – her under-ocean travels, her ability to control weather, her arbitration of luck or fate – we see attributes identical with those possessed by Mami Water. 

In Carriacou, the mermaid is usually in the lagoon where he first spotted her. Her hands may be either in a waving position, at her side, or carrying a cross. In one painting there are three mermaids. In the middle 1970s, he began writing captions at the bottom of the painting, which reveal his ideas about the mermaid’s attributes: ‘the Queen of Peace’, ‘The Maide going out for a view’, ‘The Maid having fun in the lake’, ‘The Mermaid resting in her gardain’, ‘Framed Mermaid cry out for peace and joy to the world’, ‘Studying the days in the year – peace and love to the whold’, ‘The Mermaid said on earth peace bee on to the siner on earth’, and ‘the Mermaid in the lake restin praying for sinner on euth.'”

– Donald R. Hill, ‘A Carriacouan View of the African Diaspora: “African” Themes in the Paintings of Canute Caliste’ (2005)

Deborah Jack

Deborah Jack’s multimedia installations explore the themes of memory and environmental change.  Her work often includes elements of the sea, symbolising both beauty and destruction. Jack’s art underscores the urgency of addressing climate change to protect the Caribbean’s coastal  communities. 

“I explore the shoreline of the (is)land as a liminal space. The fluidity of the water as it interacts with the shore and the lines that are created by that encounter as well as the temporal quality of those lines. Climate change has caused the warming of the oceans which has led to hurricanes that are more explosive in strength, last longer and storm surges that push further inland. The work engages ongoing questions that serve as a point of departure: Does water have memory? What is the resonance when the water and the land connect? If the hurricane is a natural memorial to the Middle Passage, a haunting. How can we re-imagine altered shorelines during the storm surge? The invasion of salt water beyond the shore. The merging of fresh and salt water bodies and the ecologies in-between that struggle to survive.”

Elio Rodriguez

Elio Rodriguez uses repurposed materials in his dynamic sculptures, critiquing consumerism and  waste. His art promotes sustainable practices and highlights the interconnectedness of environmental and social issues. Rodriguez’s work is particularly resonant, as it advocates for resilience and sustainability in rebuilding efforts.

“All my work in a general sense deals with the question of identity, understood as the system of judgements about a person, culture or phenomenon. This question is generally treated from the prism of Caribbean popular culture, using humour and clichés formed about this culture to build images that simultaneously incarnate that reality and question it. The ambivalence of genres is also a topic that is near to me, a game of illusions with the spectator, the doubt in the identity of a concept or an image, the phenomena that pretend to be one thing, but are really something else or both at the same time.

Although my work has a conceptual root, where the idea conditions formal elements, the sensations that emanate from the forms of my works are fundamental to them. I am used to working with different media according to my interests – painting, installations, sculptures, prints, ceramics – but particularly soft sculpture (sewn and stuffed fabrics), a technique that brings me closer to the craftwork of the popular cultures of the Caribbean, incorporating real chosen objects.”

Rose L. Williams

Rose L. Williams’ detailed paintings of Caribbean flora and fauna celebrate biodiversity and call for its protection. Her art emphasises the importance of preserving natural habitats, which are  increasingly threatened by climate change. Williams’ work is a reminder of nature’s resilience and  the need for sustainable practices to safeguard the Caribbean’s unique ecosystems. 

“The St Ann’s River in Trinidad & Tobago is the water my family is from and in Mama River Water I was inspired by my African grandmothers to celebrate our ancient embodied connection to this tropical paradise. I am inspired by intimate encounters with plants and animals, and identify with their fragility, resilience and evanescence.

Determined to continue creating art after a spinal cord injury, my medium and technique needed to adapt for Like Oil on Water and Floating in the Plastic Gyre. I poured paint on my body and laid down on paper to create a body print. Caught in a whirlpool of sea water, tar and oil from the offshore rigs or a vortex of plastic waste, the body transforms itself into a protective lagoon for its tropical ocean residents. In Floating in the Plastic Gyre, I envisioned how it would feel to be trapped in the ocean’s pollution alongside innocent aquatic creatures. We are not separate, we are one. When you feel trapped in your own body, art made in partnership with nature brings a sense of freedom and grace.

In Barely Hanging On, a woman struggles to make her way through the rough surf of a tropical island suffering erosion from the removal of its protective mangroves. I use the hospital gown as a metaphor for humanity’s unhealthy relationship with the environment and my own personal journey through the challenges of a serious chronic illness, endometriosis.”

Elisa Lejuez

Elisa Lejuez’s abstract forms and bold colours reflect the dynamic relationship between humanity and nature. Her transition from themes of memory to environmental sustainability mirrors the region’s urgent shift towards addressing climate change. Lejuez’s art encourages viewers to consider the long-term impacts of their actions on the environment. 

“Our universe, in all its vastness and mystery, has always left markers and indicators of its existence and evolution. When we step back to view the entirety of this interconnected tapestry, we witness a dance of profound significance. Petroglyphs are the artistic expressions of our cosmic curiosity. Corals serve as cosmic timekeepers, bearing witness to celestial events. Fossils tell tales of cosmic cataclysms and evolutionary milestones. And the universe, with its celestial orchestration, is the ultimate canvas upon which this intricate story unfolds.

We, along with our planet’s myriad life forms and their preserved memories, are integral parts of this vast universe. Whether it’s the ancient etchings of human hands, the intricate growth patterns of corals, or the preserved remains of once-thriving organisms, each of these elements tells a story of its own. Together, they evoke a sense of wonder and humility, reminding us of our fleeting yet significant role in the grand cosmic narrative. It’s a reminder that our existence is not isolated but intricately linked to the celestial rhythms that have shaped our planet and continue to shape our understanding of the universe.”

A k u z u r u

A k u z u r u ’s immersive installations explore the spiritual connections between humans and the earth. Her work highlights the cultural and spiritual disruptions caused by environmental degradation and natural disasters. A k u z u r u ’s art invites viewers to reflect on the need for a harmonious relationship with nature. 

“Parthenogenesis is an epic environmental opus  which fuses the historical and geophysical matrix of the oceanscape and landscape in an immersive installation. This evokes the deep emotional and spiritual embodiments of epochal cosmic existences through the leitmotif of the whale, oceanic energy and feminine power. Metaphorically, the impossible possibility of parthenogenesis as process and pronouncement of these capabilities in the rebirth of self – a natural rejuvenating process – proposes a challenge to women to look within and acknowledge their own power. Parthenogenesis as a state of higher consciousness – a pronouncement of feminine power – is a process of attaining ascension. 

The work is connected to the memory of Bolo, a whale watcher stationed at Bulmer’s Bay, Chaguaramas, who was in fact an enslaved African woman in 18th-century Trinidad. She blew a conch shell to call attention to a sighting of whales at Bolo Rocks, which was named after her. I use this as a metaphor for her gesture, as a call to her ancestors across the open seas to the continent or those who were ‘buried’ at sea. I see her as a powerful woman, a supernatural angel, who projected her existence through each call, blowing the conch shell to also connect to the spiritual energy of the whales once prevalent in these waters in the past. “

Alanis Forde

Alanis Forde’s work explores themes of identity through vivid portraits and introspective scenes that capture the essence of Caribbean life. Her art often focuses on the lived experiences of women, reflecting on personal and collective identities within her own cultural context. Forde’s vibrant use of colour and detailed depictions invite viewers to engage with the narratives of  empowerment and resilience that define her subjects. 

“My work portrays the navigation of life in a post-colonial paradise that questions concepts based on Black female identity in an idealised, exotic, Caribbean space. By portraying myself and my reality, I question the meaning of escapism, as someone who dwells in a place that is a paradise and place of escape for others. My work depicts an ongoing internal conflict between comfort at home and the desire to escape this utopia I exist within. The use of unrefined brushstrokes, dotted textures, patterns and vibrant colours, allow the viewer’s eyes to be in constant motion and transports them into a paradisiacal dystopia. The recurring figures in my work are called proxies characterised by their blue dotted skin and vibrant red lips. They navigate the landscapes documenting, archiving and capturing the essence of what it means to be both trapped and free.”

Ancel Daniel

Ancel Daniel’s art is deeply rooted in the exploration of cultural heritage and identity. Her works often incorporate traditional Caribbean symbols and motifs, blending them with contemporary elements to create a dialogue between the past and present. Daniel challenges viewers to consider how cultural identity is preserved and transformed over time.

“My work is designed for storytelling, to stimulate conversations and to add humour and contemplation around Caribbean socio-cultural dynamics.​ The rum shop becomes a space where modernity defies history and people of all tones and nationalities look alike: sleepy and wonky after a few beers and a bowl of souse. They are joined by Peter’s Hall cane cutters, who reappear to congregate by de Snake Pit, to spend their day’s earnings, over a nightcap under the shadow of the moon. If bar stools could talk, they would tell tales from the Caribbean Crip, in the rum shop, as many men in the region become vulnerable and spill the beans; as the Guyanese saying goes, “Mouth Open, Story Jump Out”, especially under the influence of the wine vessel. The wine vessel is an instigator, a mocker, a joy-giver and, at the same time, a joy-killer. The barstool is not a timekeeper, it keeps secrets in time and men in a stupor fall for its charm and company at the Snake Pit, the rum shop at the end of the corner road.”

Carla Armour

Carla Armour’s multidisciplinary approach encompasses painting, sculpture and performance, addressing themes of identity, memory and transformation. Her art reflects a deep connection to her Caribbean roots, while also engaging with global cultural influences. Armour’s work often explores the fluidity of identity, highlighting the ways in which personal and cultural identities are continuously shaped and reshaped by external and internal forces.

“Generally, my work has always been investigative and meditative, with social commentary thrown in. As an abstract painter, I immerse myself in the material and process. Using found objects for ‘mark-making’, acrylics, oils and mixed media as well as collage, I employ colour theory and symbolism with automatic drawing, exploring the tensions that reveal themselves. Often layering and abstracting the human figure, grids, patterns and symbols, my ‘environmentscapes’ present a restorative space for the viewer. I want my work to have resonance and for others experiencing it to feel intimate, liberated and reflective.”

David Antonio Cruz

David Antonio Cruz’s art delves into the intersections of race, gender and sexuality, offering a nuanced perspective on Caribbean and diasporic identities. His vibrant and often provocative works challenge traditional representations, inviting viewers to engage with complex narratives of  belonging and identity. Cruz’s art serves as a powerful commentary on the diversity and dynamism  of Caribbean identity. 

“soyouarebackagain,youarehere,andweareherewithyou is an exploration of queer futurity and the radical possibilities of diasporic Latinx identity. Collapsing past and future, combining space-like helmets and technologically-enhanced protective gear with photographic traces of memory, the painting offers a spirit of play, resilience, and survival. The painting is part of Cruz’s chosenfamily series, which explores the nonbiological bonds formed by Queer people and the idea of family structures chosen out of mutual love and support. Drawing from John Singer Sargent’s high society portraits and Francis Bacon’s paintings in warped environments, the sitters are invited to pose in opposition to social norms as a form of resistance, play and queering the act of posing.

The two queer Latinx subjects are the artist (right) and Daniel de Jesus (left), a musician, artist and longtime performance collaborator with Cruz. Reinterpreting classical poses, nestled intimately on a couch, the sitters fold in on each other with draped arms and layered hands, bathed in jewels, wearing helmets that evoke halos and a spirit of cosmic evolution. One sitter holds a picture frame – loosely depicting a child, a life, a moment from the past – that is based on the artist’s memory of a photograph of himself as a child posing in front of banana trees in Puerto Rico. In this utopic vision, the futuristic, adaptive helmets show the capacity to transform and merge into one another, holding space for the sitter’s billowing hair and a shared protected space in which the two can breathe. The laced gloves, the limp wrist and the diabetes patch further serve as gestures of strength and defiance.

With their intense gaze at the viewer, the sitters demand to be seen while powerfully conveying that they see the viewer, too. The tableaus etched onto the upholstery of the left-hand couch pillow – appearing at first as fluid, watery patterns – reveal a Victorian-like image of women dancing, underscoring the painting’s spirit of gender fluidity and play. Each painting in the chosenfamily series depicts the likeness of the artist’s community, and at the same time the portraits strive to capture much more than the physical representation of the figures; they venerate the overall structure of queer relationships, captured through intimate moments of touch, strength, support and celebration.”

Dawn Nicholls

Dawn Nicholls’ work captures the essence of Caribbean identity through a focus on everyday life  and community. Her art often depicts intimate scenes that reflect the cultural richness and diversity of the Caribbean, incorporating perspectives of diasporic identity and experience.

“I created SAND ON MARIA ISLAND in Barbados, outside my friend’s house, on a busy main road with traffic, buses and many watchful eyes. So within this composition, sand, gravel, dust, sun and soul come together to create SAND ON MARIA ISLAND.

ME BY DAWN (2) is a highly personal work. After 14 traumatic years of being unable to hold a paintbrush, this was an explosive exploration of creative expression that merits a powerful epiphany of my journey.

In SURVIVORS OF PAIN, this personal experience takes on wider significance in paying tribute to the pain and suffering that many women globally are having to live through every day. This expression of solidarity is extended to victims of war, torture and abuse, human trafficking and slavery, or those trapped by circumstance in marriage or prostitution. In contrast to these inhumane acts, there’s a hope for justice and kindness within the communities we create by showing solidarity with other women.”

Pogus Caesar

Pogus Caesar’s photography documents the vibrant cultural landscapes of the Caribbean, capturing  moments of celebration, struggle and resilience. His work offers a candid and often poignant portrayal of island life, emphasising the importance of cultural heritage and community. Caesar’s photography serves as a visual archive of Caribbean identity, preserving the stories and experiences of its people. 

“Caesar’s vast archive of images […] is an important reflection of what Black history is and has been. However long it is since they were taken, whatever the time lapse between shooting and viewing, these images will remain an important historical record both of and from a Black British perspective. One of the best descriptions of Caesar’s role, I think, can be found in the title of another of his series of work, Schwarz Flaneur. Reflecting the figure of the flâneur as described by Walter Benjamin as a wandering urban spectator, an investigator of the culture of the city and its manifestations of capitalism’s alienation, Caesar might indeed be seen as a ‘Black flâneur’. His unassuming approach enables him to capture unguarded moments with a photographic gaze that is analytical but also caring and intimate. Their style and working method differ, but Caesar can be seen alongside photographers like Gordon Parks or Dawoud Bey as he explores the inherent beauty in being ‘unapologetically Black’, and presents us repeatedly with what, thinking about Black photography as long ago as 1861, Frederick Douglass called, ‘the morally true image’.”

– Derek Horton, ‘Time Lapse: Reframing the Photography of Pogus Caesar’, 2021

Wifredo Lam

Wifredo Lam’s iconic works blend Afro-Cuban symbols with elements of modernism, creating a unique visual language that speaks to the complexities of Caribbean identity. His art reflects a deep engagement with his cultural heritage, while also addressing broader themes of hybridity and transformation. Lam’s work remains a seminal influence in Caribbean art, inspiring new generations of artists to explore and redefine their own identities. 

“In The Jungle and in other works I have tried to relocate Black cultural objects in terms of their own landscape and in relation to their own world. […] I decided that my painting would never be the equivalent of the pseudo-Cuban music for nightclubs. I refused to paint cha-cha-cha. I wanted with all my heart to paint the drama of my country, but by thoroughly expressing the Negro spirit, the beauty of the plastic art of the Blacks. In this way I could act as a Trojan horse that would spew forth hallucinating figures with the power to surprise, to disturb the dreams of the exploiters.”

– Wifredo Lam, quoted in Crosscurrents of Modernism, Four Latin American Pioneers, 1992

Anna Gibson

Anna Gibson’s work delves into personal and collective memories, creating a dialogue between past and present. Her art often incorporates archival materials and historical references, recontextualising them within contemporary frameworks. Through her mixed-media pieces, Gibson invites viewers to reflect on the enduring impact of history on Caribbean societies and the ways in  which memories are preserved and transformed over time. 

“My artwork is rooted in exploring women’s bodies and their relationship to our cultural, racialised preferences and social environments. Focusing on insecurities, from both personal and external experiences as well as popular culture, my work explores and exposes the vulnerabilities women have about their differences to each other. Recent works are crafted around the evaluation and comparison stage regarding one’s physical image.

I examine how women seek to mentally and physically mask or morph their bodies, in an obsessive process of evolving, using various ‘beautification’ methods to achieve acceptance socially and internally. My works emphasise these self-inflicted processes of metamorphosis, using harsh and soft combinations of drawing or painting and exaggerated forms of ‘abnormality’. Questioning the constant state of re-evaluation of the ‘self’, I’m creating landscapes driven by internalised experiences, using various nostalgic elements as a form of escape and reprieve from a demanding reality for these altered figures.”

Edouard Duval-Carrié

Edouard Duval-Carrié’s art is a vibrant exploration of Caribbean history and mythology. His intricate paintings and sculptures often depict historical events and figures, blending them with elements of Afro-Caribbean traditions and symbolisms. Duval-Carrié’s work challenges conventional narratives, offering alternative perspectives on the Caribbean’s colonial past and its  cultural syncretism. His art serves as a testament to the resilience and creativity of Caribbean people in the face of historical adversity. 

“At heart, Duval-Carrié is an educator: he challenges the viewer to make meaning of dense iconography derived from Caribbean history, politics, and religion. His mixed media works and installations present migrations and transformations, often human and spiritual. Recently the conceptual layering of Duval-Carrié’s works has been further emphasized in his materials and through consistent attention to translucent and reflective mediums, such as glitter, glass, and resin. The introspective effects of these mediums transform his works into spatial interventions that implicate the viewer in their historicity. At their most fundamental, Duval-Carrié’s works ask the viewer to complicate the Western Canon, to consider how Africa has shaped the Americas, and how the Caribbean has shaped the modern world.”

– Lesley A. Wolff

Madsen Mompremier

Madsen Mompremier’s art is deeply rooted in the history and culture of Haiti. His vibrant paintings often depict scenes of everyday life, infused with historical and spiritual significance. Mompremier’s work reflects the rich cultural heritage of Haiti, highlighting the ways in which history is lived and remembered in the present. Through his art, he emphasises the importance of cultural continuity and the role of memory in preserving identity. 

“Few moments in the Haitian past are as hallowed as when Jean-Jacques Dessalines, the insurgent leader and future president of Haiti, created the national flag on May 18, 1803. Here the revolutionary hero is stationed before the nurturing Tree of Liberty, surrounded by valiant soldiers and vigilant angels, decisively slicing the white out of the French Tricolor. With divine approval, Catherine Flon, the Haitian Betsy Ross, sews the blue and red sections back together thus fashioning the sacred banner of a newly independent republic.”

– Fowler in Focus: Art and the Unbreakable Spirit of Haiti, 2011

“Dessalines is depicted using his sword to strip the white panel from the French tricolore, which is held at the opposite corner by a seraph. He is encircled by an audience of rebel soldiers in full military regalia, complete with epaulettes and bicorn hats, along with a host of angels, fish and other mystical and metaphysical figures flourishing horns and bicolores. This is a process of simultaneous making and unmaking: of the deconstruction of the colonial order and the creation of a sovereign, anticolonial Haitian state. That there is a ‘production line’ with multiple flags being unmade and remade at the same moment and a ‘blueprint’ for the bicolore at the base of the tree, suggests that the work of revolution is continuous, ongoing and circular.”

– Nicole Wilson, ‘Unmaking the Tricolore’, 2020

Oliver Benoit

Oliver Benoit’s abstract works are a contemplation of the historical and social dynamics of the Caribbean. His art often explores themes of identity, migration and the legacy of colonialism, using bold colours and dynamic forms to evoke emotional responses. Benoit’s paintings encourage viewers to consider the layered histories of the Caribbean and the ways in which these histories inform contemporary experiences. 

“The three different bodies of work in this exhibition, drawing on the Grenada Revolution, Shakespeare Mas and the preservation of Grenada’s heritage.

For over 100 years, the town of St. George’s, Grenada, has been admired as the most picturesque and unique capital among the Caribbean islands. One of its key attractions is the Georgian-style architecture, characterised by brick buildings with red-tiled roofs. These structures harmoniously blend with the lush green vegetation of the hilly landscape. However, over the years, many of these buildings have been neglected, demolished by developers, or altered beyond recognition due to lack of care. In 2015, as I witnessed a demolition team discard hundreds of historic bricks, I realised that Grenada was about to lose a part of its rich heritage. I approached the owner and asked for some of the bricks for an art project, only to be told, “the bricks are for sale”. Though seemingly valueless, I recognised their immense cultural significance. The bricks embody the rich history of their production and use in constructing the buildings of St. George’s. This history is deeply intertwined with the use of enslaved labour and the legacy of colonialism. Preserving these bricks honours and respects our shared past. Paintings like Brick Wall incorporate crushed bricks mixed with paint, creating a textured medium that preserves the historic essence of the bricks themselves.

The Whip and Whipping the Mind reference Shakespeare Mas as an expression of Carriacou’s cultural heritage, which features two players engaging in competitive recitations from Shakespearean plays. While the Mas is unique to Carriacou and has always been admired by locals and visitors, the deeper significance of this tradition has often been overlooked. This collection endeavours to delve beneath the surface, unveiling hidden meanings that have escaped our awareness. Through these paintings, which include passages of text underneath expressive strokes of colour, we are encouraged to go beyond the visual aesthetics. Shakespeare Mas beyond its visual appeal, urges us to reflect on its cultural essence and unexplored dimensions, such as the use of the whip in our society.

Memories of the Grenada Revolution is a body of work that formed part of an audiovisual installation in 2020 about the memories of the Grenada Revolution from 1979–83. Viewers were invited to enter the space (7.6 x 4.5 x 3 m) to listen, view and reflect on the memories of Grenadians who lived through and experienced the Grenada Revolution. It has been the stillness of memories long subdued and suppressed that began to ripple across your consciousness. Can you recall? Is there a lesson to be learnt today from the revolution 40-plus years ago?”

Pauline Marcelle

Pauline Marcelle’s multidisciplinary approach encompasses painting, installation and video, addressing the intersections of culture, politics and identity. Her work often critiques the effects of  globalisation on Caribbean societies, exploring issues of cultural commodification, economic inequality and environmental degradation. Marcelle’s art invites viewers to reflect on the broader implications of global interconnectedness and the ways in which Caribbean communities negotiate their place in a globalised world. 

“Pauline Marcelle’s painting series Catharsis expresses in vibrant colour and form the hopes and wishes the artist has for herself, and for society, after the last difficult pandemic years. Marcelle takes her painting in a new direction, with massive individual figures filling the canvas, as opposed to the familiar paintings where groups of people are intricately staged. Here is a celebration of life, of the individual’s triumph over adversity. The figures wear elaborate headdresses, which give them a shamanistic and magical aura. It is as if the life force itself is bursting out of them and transferring itself to us. They are striding across the scene, or squatting, or posing. The figures seem to want to express their vitality and passion for life in every way.

A catharsis is a purification that results in spiritual renewal. It also signifies the elimination of a neurotic condition, hidden in the subconscious, by giving it expression. Marcelle is freeing herself with her painting from the shackles of the physical, emotional and psychological pain that the pandemic and the accompanying restrictions have inflicted. She says herself that these works represent ‘an emotional release in times of apocalyptic occurrences’. We, the viewers, can also join her in freeing ourselves, by enjoying these highly intricate and very dense works that visually remind us how complex the composition of each individual’s soul is. Pauline Marcelle brings the value of human existence to the foreground in the Catharsis series. This reminder of the preciousness of human singularity is greatly needed right now. With her art, Marcelle gives us visual cues that are signs of hope and an encouragement to think about, as she says, the ‘forgotten tomorrows’ – while we still can.”

– Dr. Renée Gadsden, 2022

Lee-Ann Haslam

Lee-Ann Haslam’s work engages with themes of migration and identity, capturing the fluidity and hybridity of the Caribbean diaspora. Her art incorporates glass art, mixed media and collage, reflecting the fragility and multifaceted experiences of those who navigate multiple cultural landscapes. Through her vivid and thought-provoking pieces, Haslam explores the impact of globalisation on personal and collective identities, highlighting the resilience and adaptability of Caribbean people. 

“Women’s self-worth or value traditionally is not defined by them. Often, it is determined by others, due to a lack of inherent self-knowledge and grounding. Ethnic women especially have become an object of entertainment for others’ pleasure, specifically in various interactions and media representations. In my works I’d like viewers to reflect and look deeper, to become aware of distortions, to embrace the evident and divine feminine presence, to fully honour oneself and reflect who we truly wish to be, rather than what is imposed.

Glass affords us the ability to examine the delicate, yet powerful nature of this. Unlike most Western aesthetics, the content presented is not symmetrical, but rather colourful, bold, unapologetic and fluid. The ‘imperfections’ are what makes each piece and woman of colour unique and, in fact, beautiful. Imperfections define our existence. They mirror and celebrate who we are, the diversity of our human experiences and the strength that can arise from facing and overcoming challenges.

As a collective, we are never broken and nothing is permanent. Glass reminds us of this. It can be broken and reformed with heat, which only renders it stronger. Each piece serves as a poignant reminder of the intricate facets of womanhood. They beckon viewers to reflect on what it genuinely means to be a woman, urging them to stand proudly and unapologetically, free from the constraints of judgments. Through artistic grace, the works seek to inspire women to shine in their own unique colourful way, reminding us all that inherent strength and growth define our journey toward self-actualisation. A call for women to have an awareness and control of their lives, challenging preconceived notions and asserting their individuality. A resounding proclamation that women’s voices should be heard, and all be able to enjoy the freedom to be their authentic selves, unburdened by societal expectations.”

Sara Moreira

Sara Moreira’s art focuses on themes of displacement and the search for belonging within the Caribbean diaspora, starting with the Bahian experience in Brazil. Her work often features symbolic and metaphorical elements, creating narratives that speak to the experiences of migration and the forging of new identities. Moreira’s use of vibrant colours and dynamic compositions captures the emotional intensity of these journeys, offering a poignant commentary on the human aspects of globalisation.

“My sculptures are a journey through time and memory, each piece a dialogue between the past and the present. Drawing on the rich cultural traditions of Salvador, Bahia, I seek to create works that are both personal and universal, inviting viewers to reflect on their own histories and connections. These sculptures, called Gelede Totems, serve as spiritual protections, honouring the ancestral mothers and their wisdom. The Gelede tradition, rooted in Yoruba culture, celebrates and worships the ancestral mothers who provide guidance and protection.

In the Gelede Totems, I incorporate glass and terracotta, as well as vibrant textiles and ceramics. These elements are inspired by the Gelede dance festival, which is a colourful and dynamic celebration of female power and community. The use of glass represents the fluidity and transparency of water, symbolising life, transformation and clarity. Terracotta, moulded from the earth, symbolises strength, durability and our connection to the land and our ancestors. The incorporation of búzios (cowrie shells) is particularly significant; historically used in spiritual practices and as currency, búzios represent protection, communication with ancestors and the enduring wisdom passed down through generations.

Each piece in this series embodies balance and resilience, often appearing as though they might topple yet remaining perfectly stable. This delicate equilibrium symbolises the strength and stability that comes from embracing and honouring our cultural heritage. Art, for me, is a means of honouring our ancestors while also carving out space for new narratives and possibilities.

The Laroye series of monochromatic black totems is a tribute to the orixá Exu, known for his role as the messenger of the gods and his association with movement, communication and the crossroads. In this series, I use phallic and rounded forms to symbolically represent Exu’s attributes. The deep black colour signifies the depth and mystery of the spiritual world, while the totems themselves stand as powerful guardians. The Laroye Totems incorporate traditional materials such as glass and ceramics. The black glass and ceramics represent the strength and solidity of our spiritual foundations. Through these works, I not only honour the spiritual significance of Exu but also invite viewers to reflect on their own journeys and the intersections of their lives. Each piece stands as a testament to the balance and resilience required to navigate the complexities of existence, mirroring the delicate equilibrium found in the Gelede Totems.”

Sonia E. Barrett

Sonia E. Barrett’s work delves into the themes of globalisation and diaspora with a nuanced  perspective. Her installations and sculptures explore the material and cultural exchanges that define the Caribbean’s global connections. Barrett’s art highlights the tensions and synergies between local traditions and global influences, encouraging viewers to consider the ongoing processes of cultural negotiation and transformation within the diaspora.

“I think about how to change perceptions of phenomena in ‘nature’ that are a given. The work seeks to create new questions, where previously there was a kind of certainty that has to do with the hegemony of normative Western values. I make sculptural works so I can run my hands along the fissures and manifest strategies for multiple compatible existences.

Sometimes, as a black child in predominantly white spaces in England, I would enter public bathrooms and notice black people labouring in them. I work at not seeing you, I am tired of not being seen distils ‘different but the same’ dialogues between black people that don’t come to the fore when we explain our othered selves to people. The bathtub feet are larger in stature and no longer holding the bath, while the small gold feet still labour at holding the mirror. Both these feet could have been labouring in the same bathroom. If they were, how would they see each other? What would it mean to enter a space you used to labour in and notice someone is still labouring? Do you look or look away? The larger figure can see themselves in the labour of the smaller figure, actually and metaphorically. What does the smaller figure sense?

— — — —

My small Sky works are an index of the larger Sky, first installed at Villa Romana in Italy and inspired by the vast open skies. The small work contains all of the themes of the larger sky but is in dialogue with the European traditions of display, looking at a preserved version of an aspect of the natural world. Victorians kept specimens under glass domes or bell jars as a kind of index, an archive for scientific and visual pleasure. Black people have a history of display as flora and fauna in European institutions. The glass dome references this and the writings of black people who articulate the present-day lived experience of being a touchable specimen in predominantly white spaces. The glass enables looking but not touching.

Most importantly, the bell jar is not used to single out, identify, examine and ‘pin down’ a single species. Instead, the work separates a commonplace trait of many black people in a non-identifiable way. African textured hair as a cloud is an attempt to build a new sky centring black people. Whilst negatively loaded in English, the black cloud is the fertile pregnant cloud, ready to release life-giving water. The black cloud is authentically in relationship with many soils, living in a kind of diaspora beyond any single nation-state, ascending from the soil in one nation and returning to the soil in another. The hair is isolated in the jar in such a way as to suggest visual connections with wider cyclical systems of the natural biosphere as a whole. Black ways of understanding the soil and the sky have long been looked down on as undeveloped; perhaps the opposite will be shown to be true.”