National Biennial 2008: O’Dwayne Wilson

Interview by Peta-Ann Smith, Jan. 26, 2009

PS: Based on your displayed work, the figures appear to be dressed as high-ranking Catholic clergymen. Did the fairly recent child abuse scandal that rocked the Catholic Church inspire this particular piece?
OW: Yes the recent events have influenced me to do works examining the role of the clergy and religion on a whole. But then what really did it for me was the film ‘Deliver us from Evil’ which was a biopic on a clergy man who molested kids at whichever church he went and the cover ups surrounding it.

PS: Did the subject matter of the work influence your choice of media? If so, in what manner?
b) If the subject matter bore no influence on choice of media, what inspired you to select these particular materials rather that use traditional canvas?
OW: Yes it did to an extent, the cloth, wood and the nails where all symbolic of the Catholicism. However the wood was mostly found due to constraints in the project and to off- set cost of the work. The wood was lying everywhere especially since the school was under going minor constructions. So I made use of what my environment could afford me. The cloth was also was interesting experiment in it self.

PW: Given the controversial nature of the work, especially when one considers the events of the past five years, do you think you'll revisit this subject in future pieces?
OW: Yes I would but it would be used as sort of linkages between ideas. Besides there are so many dimensions to the topic and a historical context which I feel could be explored more in depth. But I wouldn’t want to replicate the same works again in terms of the structure and forms that they took. I believe that the works would have worked better as an installation.

PW: Have you considered other themes and/or subjects that you would like to explore in your future pieces? If so, would you be willing to give us an idea of what you'd like to examine next?
OW: Hard to say ... the current financial situation of the world is always a stimulus because it affects every one on so many levels.
What I am watching right now is the conflict in Gaza and how that plays out. It has more effect on me right now. The battle happening there is a historic and an old one and has not been resolved for thousands of years. But its hard to say right now. But I am interested in doing a piece focusing on issues closer to home.

PW: Apart from different subjects, are there any media that you'd like to utilise in the future? If so, which media do you think will be the most challenging and possibly the most rewarding?
OW: I’ve always wanted to do digital media because of ability to be visually agile. It can enable me to explore a range of issues and techniques and maybe even venture into filmmaking.

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National Biennial 06 Artists' Talk

The National Gallery's artists' talks are always inciteful and informative and sometimes controversial. These events allow the public a further understanding of the works they loved, hated or were indifferent to. These talks are rarely recorded and so are often the only opportunity we have to interact with artists in these major exhibitions. The gallery is also one of the few institutions in Jamaica to consistently host these forums.

The talk takes place on March 1st, 2007 at 1:30pm at The National Gallery. The artists featured this year are not necessarily the same ones featured on the poster. The artists speaking are Omari Ra, Michael Elliott, Heather Sutherland Wade, Michael Layne and Franz Marzouca. The Biennial closes on March 10, 2007.

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Biennial 07: Invitation to Discuss

This biennial is a particularly important exhibition for various reasons. It stands out as being one of the first years where on can think of a set of artists being shown who utilise digital media and processes. Renee Cox, controversial New York-based artist is exhibiting several photographs and students from Edna Manley College are exhibiting alongside seasoned practitioners. There are many more questions that could be asked and discussed in response to the Biennial and I invite you to do so here. It is remarkable also that I have not seen as much publicity for such an immense exhibition. Which artists stood out for you? What does a show like this say about Jamaican culture and its industries? How does this show affect audiences? etc.

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Black scandal bag: Camille Chedda speaks about her work

Where does working with the black scandal bag come from?
It started in my third year where I was using images of my face to create works about how we (or just myself) mask our identities as Jamaicans. It was also about being unable to speak and being trapped. I decided to use the black scandal bag because it garnered many interpretations based on its everyday uses. It contains, and I was containing my words. It covers, and I was hiding my ugliness, my truth, my identity. It protects, I was being shielded from people's words, abuse, pressure etc. It preserves and I was trying to preserve my sanity.

How do you connect the use of this material/object to references from your ownbackground(race, class, identity, experience) as well as Jamaican culture, society and politics? The bag has many uses among Jamaicans. People buy groceries and the items are placed in these bags. Some people use it to protect themselves and objects from getting wet. It acts as an agent that protects while being a very dangerous material. As children we are warned not to put our heads in scandal bags because we could suffocate. There are many stories of babies being found in scandal bags after being disposed of by their mothers. Murderers wrap their victims' bodies in garbage bags. Weed, guns and bullets are other things found in these bags. There is also the saying that some women should bag their heads because they're unattractive (facially). These are some of the things that have influenced my work.

How do you feel about your work being shown in the Biennial due to controversial issues that have been spoken about in various articles and reports as well as the fact that you are still a student?
t seems like people are questioning if my work is 'art', because of the materials I use. I didn't know how people would react to it because I never thought of it as controversial. This is the first time Marvin and I are exhibiting works in the National Gallery. It's an achievement for me to know that we're in an exhibition with other great Jamaican artists and we're still studying.

How does something like digital media/video become a part of your Black Scandal bag work?
I needed another outlet that painting and photographs wouldn't allow. I think the video communicated my feelings best because it was straight forward, something I couldn't achieve with any other medium.

Lastly, what ideas and artists do you associate yourself with?
I did some research on scandal/garbage bags. Surprisingly though, I didn't know about the Abu Ghraib situation until I saw it in your(Oneika Russell) solo exhibition! I knew that people were being tortured but had never seen the images. That added more context to my work. I had been dealing with the body, so I looked at Ana Mendieta and Kiki Smith's work and how they understood the body. I also used Marcus Garvey's words, writings on the body, transatlantic slavery, newspaper articles, and relations with my peers, family and people in society as some references for my works.

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Future Directions

Recently with shows like the National Biennial and the host of new media art courses at the Edna Manley College, new directions have emerged in the Jamaican art world. I wonder how valid the public and more traditional art lovers view these artists and their work. Do you think Jamaica is ready for this and is it even important? Video and photography as art in a country with a huge history of 'the collectable painting'?

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