A VOICE AND ITS THOUSAND WORDS: Michael Thompson

Around Facebook and Flickr Michael Thompson's designs, images, politics by beauty drifted into my consciousness. Again the connection emerged with design and beauty being used for political expression. Is this this a new route? Will design effectively replace the political voice of Painting in Jamaica? Is the accessability of Design replacing the often high-browness of Fine Art? I asked Michael a few questions and he gave me his thoughts.

Can you give me some insight into your background as a designer/artist and relationship to Jamaica.

I am a Jamaican living in the United States. I attended Calabar High School in Kingston, Jamaica and graduated in 1976. After leaving Calabar I studied commercial art at the Jamaica School of Art as a part time student. My first design job was an apprentice position at the Daily News art department. Shortly after, I joined Paisley, Kelly Keynon & Eckhardt Advertising Agency(PKK&E) as a layout artist and illustrator. After a long stint at PKK&E I took up an offer as Art Director, at Mike Jarrett Communications, a public relations firm. It was my last gig in Jamaica before I migrated to the United States in 1989. In 1978 I designed a poster that got me a place on the Jamaican delegation to the 11th World Festival of Youth and Students in Havana Cuba. This was an amazing cultural experience that has influenced my design aesthetics. I was very inspired by the beauty and power of the poster arts produced by the Cuban agencies of ICAIC (the Cuban Institute of Cinematic Art and Industry) Editoria Political, and OSPAAL (the Organization in Solidarity with the People of Africa, Asia, and Latin America.) The artistic energy from that festival in Cuba and the international art that I was exposed to still influence my creativity today. The International festival definitely opened a lot of doors both internationally and locally once I return to Jamaica. I had my first major art show in Jamaica which included paintings, poster art and drawings. This exhibition was a two artist show held at the Bank of Jamaica with myself and Clinton Hutton a fellow progressive artist at the time, this was around 1979.

Looking at your portfolio I am seeing at least two approaches to design emerging. One seems more meant for traditional commercial work where the designer could be anyone from anywhere. In the other kind I am seeing a designer asserting a voice about nation and place and culture through the design and imagery. How are you balancing and approaching the two differently?

It is important to separate my commercially designed work from what I call my Activist/Awareness designs. On one side of the scale the commercial design process is born out of some kind of consensus; the clients input and direction coupled with my creative conceptual ideas. This struggle can often become an hinderance to creativity depending on the kind of relationship and freedom I have with the client. It is always a struggle to break through the corporate briefs and restraints. On the other side of the scale my Activist/Awareness designs are expressed through "freeform creativity" layered on a forward thinking design platform. They are not restrained by any briefs or directions to corrupt the creative process. This is my voice and conceptual ideas expressed undiluted. It is my passion and conviction all wrapped up around an array of issues, ideas and causes. What you see in these designs are a commitment to freedom in the creative process. I try to separate and balance the two by approaching the creative processes differently. The Activist/Awareness designs are my personal work which is very important to me as a means to explore new techniques and ideas in a freestyle way.

What visions do you have for the role of your more activist work and how has it being delivered to its audience and used by them?

The delivery formula for my Activist Art Project can be summed up in five words “communication by any means necessary.” FLICKR plays a big role in introducing my poster art to a broad international audience. It is where this present episode of my activism started and already my work has attracted thousands of viewers since I started posting my art on FLICKR a year and half ago. The web has been a wonderful way to achieve exposure and to get my message out. However, it is not the only way my work is delivered. I make digital 18”x24” poster prints and have shown locally in traditional gallery settings. For example , I exhibited at a gallery in Bethlehem, Pennsylvania with a group of underground Zine publishers. This was a new type of audience of young rebel writers and graffiti enthusiasts. I am also working on other collaborations with publications and archives like the Palestinian Poster Project and the Canter for the Study of Political Graphics in an efforts to expand the audience. I am also planning a collaboration with a local skateboard company to do a show in their retail outlet later this year. I hope to do more of this type of delivery.

I do get many request for the use of my work as fundraising or promotional material to support a variety of causes that are represented by the designs. One of which is the design in solidarity with the Palestinians in the Gaza strip. The image of the “Gaza Child” has gotten the biggest request and admiration to date. Posters and T-shirts were made by The Gaza Freedom March organizers and distributed at the march in Egypt and other cities around the world during the International solidarity march in January, 2010. International requests for the “Gaza Child” design are still coming in from as far away as South Africa and Australia. The Gaza Freedom March and The Haiti Poster Project are two campaigns that have helped publicized my designs and messages on an impressive scale and have also raised money for two very important causes.

I am working on more collaborations and hope to create a dedicated website featuring only my activist works in the near future. My Haiti poster designs will be featured on TV Cultura on a program called Almanaque. TV Cultura is a public television channel in Brazil. The program will use my Haiti designs as an example on how others especially the youths can use the internet to help Haiti. I have to thank many of my FLICKR friends and other supporters who have helped to spread the messages and my work to new audiences via blogs, online galleries and Facebook postings.

Do you think art can change the world?

Yes, to a point. Art can play an important and supportive role in changing the world. Art by itself cannot change the world. However, it can communicate ideas and messages in a powerful and effective way; elevating awareness in people that might not o

therwise turn to action. It can provide a powerful visual queue for those in the struggle to help motivate others to participate in the process of change. All branches of the arts can play a relevant role effectively. As artists we can ask questions about the many problems around us and present them in creative ways to foster dialogue and discussion. Activism is still the best way to achieve change, people have to stand up and go out there to "make a difference." I think more artists need to point to the problems and find the best solutions to stimulate activism. I would like to see more art in workshop settings, where people are no longer passively sitting and consuming the art. Instead, they are creating together, feeling empowered and focusing on solutions, community and communication. I am upbeat that this activism among young artist world-wide have begun to find roots. I admire artists like Shep

ard Fairey of OBEY, Dignidad Rebelde and Taller Tupac Amaru Collective who are doing amazing works in highlighting a number of political and social issues. I would love to see more visual artist in Jamaica standing up and speaking out through their art on issues of injustice, human rights and environmental concerns affecting Jamaica and the wider world. We can find examples of Jamaican musicians who have successfully used beautiful music to raise consciousness and to fight injustice; Bob Marley, Peter Tosh, and Burning Spear, Michael Smith to name a few. I think the Jamaican visual artists can find inspiration from the history of activism in our music.

It is clear that beauty is important and iconic imagery is the support for your strong ideas. Can you explain the process of how you locate an issue for use and then create an appealing image.

You do not have to look very far to find issues to support. It can be local or international, the media and the web are filled with stories of war, injustice, brutality, environmental concerns and exploitation, you name it is there. Lets look closer to home, the violence that occurred in Tivoli Gardens Jamaica on Labour day (May 24, 2010) and its aftermath was terrible. It was not hard to see that the stories that were presented by some local and international media had ignored the physical and emotional trauma that the majority of citizens were facing in that community. Hundreds of police and military personnel attacked a community inhabited by innocent women, children, and men, killing over 70 in the process. An unnecessary war unleashed on a civilian population. The stories that were coming from the residents totally contradicted the official reports. The residents spoke of summary executions and brutality by the security forces.

One of the poster design that I created in solidarity with the residents of Tivoli Gardens and Denham Town depicted the iconic face of a crying woman. I started out with the illustration because I wanted it to set the tone of the design. I am pretty much entirely Adobe illustrator-based as far as software is concerned. The entire design and illustration is created from start to finish in Adobe Illustrator; no sketches or scans. I usually prefer to work this way. The expression on her face captured the frightful experience they had endured. I read some of the statements given by members of the community and have seen the images and videos of the women weeping for their loved ones that were either killed or missing. It was clear to me that a very large number of the people living in Tivoli Gardens were woman and children. The face on the poster represents the weeping mothers of Tivoli Gardens. Everyone with a heart can relate to the humanity in the narrative. I then added a bold and powerful statement that reminded the government and other Jamaicans that the residents of Tivoli are citizens of Jamaica not enemies and they deserve justice. I wanted a beautifully designed image, colorful, and strong enough to grab the attention the first time someone looked at it.

What do you think about Michael's work and what he is doing as a designer of political imagery?

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The far reach of William Kentridge

Last year I saw this film made by one of the recent graduates of Edna Manley College, Dwayne Scott.

I thought immediately that this artist has been influenced by William Kentridge.

Its hard not to be I suppose when Kentride's aesthetic and method is ideal for the artist without very much access to hi-tech equipment and lets face it very few media artists working in third world nations have that kind of access. It is also ideal for the artist who is just that, an artist linked to the traditions of drawing and painting. This method of working produces that much dreamed about in-between ideal: drawing/ painting in motion. Drawings in motion are the other reference for Animation of course but somehow the phrase 'drawings in motion' or 'animation' seems associated with cartoons and comic character style animation. Kentridge's and subsequently Scott's motion drawings are located on a whole other branch of animation. That branch which pursued process, play and low-tech inventiveness. A branch where strength of content and meaning in the work is very personal as well as socially and politically impactive. (Read more about Dwayne Scott's work on Facebook )

I recently found myself traveling 14 hours roundtrip by bus to view the Kentridge blockbuster travelling show in Japan: 'What We See & What We Know'. Though the show was in lovely Hiroshima, I only had time and energy for one activity and the activity I chose was to see the Kentridge show. Why would I make that choice?

Well it was the first time I would have had the opportunity to view his works in person and as far back as 5 years ago, it was being recommended that I see his work.

How was it?

Well what I learned was to become more confident in my own way of making images and to truly not feel restricted by my own perceived lack of resources or industry-standard technique. One of my favourite things was seeing a drawing for 'Felix in Exile' where a slit was cut in the paper to slide a cut out-doll figure through the larger drawing. This was to create the illusion of Felix on the ramp entering a CAT scan machine. Something like that brings a smile to my face when it can often seem that in order to start work a high tech video editing and compositing suite is required.

On another note the process of bringing a still image into the appearance of motion was much documented in that show and many of the residues and tools utilized were exhibited as well. In that I found that the magician was leaving a door open to view the illusion. It made me enjoy the trickery even more. I only wish that artists truly aligned with this working method might have more access to viewing these works in this age of video sharing facilities. Perhaps that means rethinking the place and approach to film and animation made for fine art audiences.

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People are still painting (Part 1).

Painting by Yukiyo Miyake

We travelled way into the quiet suburbs of Kyoto. Found our way into the large concrete buildings which housed the graduation show at Kyoto City University of Arts. Slowly worked our way from the ground floor to the top while peaking into doors to discover what art there was. The first room was found only by the accident of going into the wrong building. In a set of connected rooms by the way, we discovered that people were still painting. This was the ‘INTERIM SHOW’. Meaning that these were the students who were only halfway through their MA programme. The canvases were large, still pungent and wet and with great image, colour and aesthetic. Of those approximately 7-8 students I want to look at 2 artists for the contrasts in the kind of imagery being made in Japan now. Yukiko Miyake’s paintings seemed to spring from elements of the country’s manga and anime aesthetic but interestingly she mentioned hardly reading or viewing these media. Miyake’s images reminded us of Princess Mononoke and Spirited Away in its large oblong-eyed characters with wispy auras. Perhaps this aesthetic that we attributed solely to anime and manga is more rooted in Japan’s traditional cultures. This must be true as ‘ART’ doesn’t spring fully formed from nowhere.

Still from Studio Ghibli's Princess Mononoke

This brings me to a question constantly on my mind whenever it comes to art-making: How can the process and aesthetic of making an image reflect essences of a culture. Miyake’s approach shows me that perhaps it should not be constructed or forced but intuitively tapped into so that the resulting images seem to be effortless reflections of culture and context. What would an effortless reflection of Jamaican culture in a painting look like? From the walls of our national art institutions to our commercial galleries, is there work that has succeeded in doing this?

Work by Sekiguchi

In order to get to Miyake’s room however, we had to pass what looked like the scene of a crime. What crime that might be I am not sure but there was a sense that an expressionist painting had exploded and was being contained in this area. The artist, Sekiguchi, brought us into his process. The work indicated a conceptual engagement with the fundamentals of Painting. As strips of colour dangled from the ceiling, landed on canvases and came to rest on the floor. Many paintings were indistinguishable from the walls and floors and then the paintings only became apart of the total space. The room was equally as important as the canvases and the canvases were clearly only arrived at from the work that took place in this space. In local painting exhibitions how do you feel about seeing a space that ‘makes’ the paintings and not vice-versa?

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Remembering Kumina

Its funny, though I am a visual artist, I cannot remember going to museums or galleries as a child. The dress-up occasion for my family was going to see the new Pantomime in December and attending the National Dance Theatre Company’s (NDTC) Season of Dance. Though I drifted out of touch with it during my high school and college years my memory was renewed in 2008. Now 17 months in Japan, one of the last cultural events I attended in Jamaica was the NDTC Season of Dance. The performance was more vivid and emotive than I had remembered as a child. I am not sure if it was because I was now better able to appreciate the sounds, the movements, the posture and colours or if it has been refined into a fine art over all these years. I am sure it must be both reasons. In particular I am thinking of the performance of ‘Kumina’.

I only saw Rex Nettleford perform ‘Kumina’ once and then after that each year of seeing the performance I would be reminded by my family that the new dancers were doing ‘Rex’s choreography’. For me that was how the myth of Rex Nettleford began. That 2008 performance was revisiting for me one of the most powerful dance performances I have ever seen. I remembered in those minutes why I began engaging in cultural activity. I have to say that the dancers performing 'Kumina' now, contribute much to the power of that piece. I cannot remember specifically what Nettleford’s performance was like as at that young age as just seeing dance was overwhelming enough but I felt something of an aura still present there in the frenzied drumming, whirling skirts and strong faces. I remember asking during my NDTC attending days how do the dancers know how to do 'Kumina' perfectly each year. As a family of dance outsiders, I never got what I thought was an adequate answer. Perhaps it is just a sign of the strength of the NDTC that I can still wonder this today.

Photos by Peter Ramsey

source: www.bahamasuncensored.com

University of the West Indies Flickr Archive

source: http://www.flickr.com/photos/theuwi/

PHOTO COURTESY THE UNIVERSITY OF THE WEST INDIES. PHOTO BY VALDEZ BROOKS

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The GO-SEE for ARTISTS

To borrow from America’s Next Top Model, recently I went on gallery 'go-sees' in Kyoto. With my travel-size portfolio in hand and some long-overdue courage, I set out to find a gallery. The courage was needed as this experience was not one I ever really had to do before in Kingston. In Kingston, the art world is interconnected and every one knows or knows of somebody and their work. Gallery owners or curators are not too far away or out of your reach. This may sometimes be a benefit to the art scene or cause its own set of problems however the gallery portfolio visit was something I managed to avoid. Japan with its specific hierarchical systems and stress on good manner was an interesting start. An artist could be in the process of being rejected and never even know it or better yet, walk away feeling good about their rejection.

Once again this feeling was slightly unfamiliar as my image of portfolio-showing gallery visits was for a long time tied up with memories of the many miserable critiques of art school. Its as though once escaping that system I subconsciously decided never to experience anything similar to that again. I did seem to forget though that they were a necessary part of learning about artistic life. Just as the ‘gallery go-see’ is an important step in introducing yourself to the art community though I only fully realized, this way after school ended. The gallery go-see can be seen in the same way that aspiring models stomp concrete to find their next opportunity and to network. As the world becomes smaller it is equally important in smaller more connected art communities, as in larger metropolises in order to become an art world debutant.

The process of organizing one’s work into coherent story, writing a statement or at least being able to vocalize it clearly is as important as the studio work itself. Yet somehow I allowed myself to slink away from it. Thankfully I decided years ago to channel my energy into entering group shows and applying for grants and awards, and these certainly do their share of developing the administrative muscle. The part that is daunting however is having to constantly face the question of the value placed on your own very personal work. Once you are honest about it however and take a well-considered objective look at the kind of work in the top celebrity gallery’s of New York, London, Tokyo etc. and compare your work, it should prove less intimidating. You may possibly realize that there is some element which needs more work or you will realize that your work is no different or perhaps better on certain levels. The most that will happen is you will gain inspiration to ‘develop your craft’ or gain confidence to go forward.

I will add that before my face to face go-see, I mustered up the courage to send my portfolio out to a few carefully selected galleries in various parts of the world. Interestingly enough, I received kinder responses from New York and London galleries than some other contacts close to home. The perception of what it means to be a curator, dealer, artist may sometime be tied up in the spirit of elitism but that perhaps is an issue for another post. Nevertheless there is no better time to start than now.

Suggested Tools for a gallery go-see:

1. Copies of your Artists Statement
2. A portable portfolio with between 12-20 images of a coherent developed recent body of work
3. A clear idea of what you want to achieve from the go-see (this will help in asking certain questions etc.)
4. Copies of your artists cv
5. Business cards (it could be a good idea to use the front of your business card as a space to show an example of your work)

Note: You may choose to go to galleries impromptu and leaving copies of your portfolio and business card or if you would like to speak specifically with the gallerist then an appointment may be appreciated.

Images are stills from Vernissage TV's coverage of Art Basel Miami Beach 2009. In your experience is this an accurate reflection of the artworld?. Watch the whole video here.

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Sheena Rose's Town

What is Town about and how did it get its name?

“Town” is an animation that is about a female figure depicted by myself who decides to go to Bridgetown. She is surrounded by some silhouettes and in them are words, outlining personal problems, thoughts and issues we face in our daily lives. The more I look into the culture of Bridgetown and the behaviour of some Barbadians it could also be said that the words could even represent some forms of gossip. In the end of the animation, I turn into a silhouette to show that I am just like anyone else.

The animation gets it name from when we Barbadians shorten the original name of “Bridgetown”. In Barbados, when we are asking a question pertaining to Bridgetown for example “Where are you going?” to a friend or any person, they would usually answer “I am going to Town.” So I thought it was interesting to just call the animation “Town.”

How did you decide on animation as a medium?

It all started when I was at Barbados Community College. I was studying Contemporary African Art and I studied William Kentridge. I loved his charcoal and the erasing technique. So I wanted to try out animation. I had this idea of treating each frame of the animation as an art piece; each frame is hand drawn and painted. I added newspaper clippings, comic strips, transfers; anything that would make the composition more interesting. I taught myself animation and I am still learning the media

What has the response been like and where have you shown/ exhibited the work?

I have been receiving great responses from many persons such as artists, curators, critics, gallery owners and viewers. Many people told me that the work is an inspiration and it causes them to realise that each person is equal in terms of their own personal problems. I believe they are impressed with how the animation is very playful but still carries a serious message.

“Town” was first shown in the Black Diaspora Symposium Visual Arts early in the year 2009. It was organised by David A. Bailey and the National Art Gallery Committee. It was shown in public in a Pharmacy show window in Bridgetown and it was interesting to see that the animation was actually sited in Bridgetown itself making it almost seem to be part of the surroundings.

After the symposium, Christopher Cozier and Sean Leonard invited me to show “Town” in Alice Yard, Trinidad. It’s a small place that is not a traditional art space but an area where artists, performers, writers and musicians come together to show and discuss art. Most recently, Real Art Ways, in Hartford Connecticut. Now that was really exciting for me because that was my first time participating in anything in the States. I discovered that the exhibition ‘Rockstone & Bootheel” was exhibiting international Caribbean artists, so

this was a very big deal for me.

You spoke about treating the drawings that you use in the animation as independent art works. Tell us some more about that works in terms of exhibiting and selling.

I want persons to see the animations as an art piece; just the same way you look at a painting but in this instance it is moving. In terms of selling the animation that’s a Yes. I would create it as DVDs and I am planning to sell the frame or stills of the animation. Again as I mentioned before each frame is hand drawn and, therefore, they are drawings.

You are now recruiting participants for your new work via Facebook; What will this new work be about and how will you be using these persons?

I used myself in “Town” but I am working on some animations with the same concept so I need more people. I am talking about persons’ problems so therefore I would need other people going through Bridgetown such as young, old, male, female, etc. However, these other animations wouldn’t be exactly like the original. I know these others would be very difficult but I am looking forward to the challenge.

Who are your favourite contemporary artists and how do you want to develop your work?

My favourite contemporary artists are William Kentridge, Robert Rauschenberg, Kara Walker, Christopher Cozier and Ewan Atkinson.

I really like William Kentridge’s work because, to be honest, I wasn’t interested in animations but it’s the way how he treats his animation. The charcoal drawings are fantastic.

I am working on a solo show exhibiting it in Barbados Community College’s gallery for 2010. I am planning to submit the animations in more exhibitions, residencies and film festivals. I am really happy how the process is going so far in term of ideas for the animations and of course the responses from persons. This motivate me to work harder, and exhibiting more of “Town”

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DEFINING DIGITAL part 1

This season Disney launched The Princess and the Frog(img. 1) with much hype. The fact that this was going to be the first African-American Disney Princess caused the media to take notice and was Disney’s main press kit. Another fact surrounding its production caused me to take notice: Disney had reopened its 2D animation department. That department closed around the period of Home on the Range and The Emperor’s New Groove as more efficient animation methods were found in digital tools. Hooray for digital media but there was also a sadness about it as though it may not have been the end of 2D technique it seemingly signalled that the value in the manual practice of hand drawn animation had plummeted. Nevertheless, Disney was always about efficiency and streamlining in its aptly named production line.

For some time it seemed that one had to accept the plasticky surfaces of Shrek and the muted coldness of The Polar Express as the next phase of progress in animation. Granted major 3D houses such as Pixar and Dreamworks did much to advance the medium through strength of story and design but there were times when it seemed that Finding Nemo and Cars would become the standards of animation filmmaking. Turned out I was wrong. With such beautifully crafted pieces as Belleville Rendezvous, The Danish Poet, Father and Daughter and Persepolis being nominated in the Academy Award animated film categories, it seemed that the value of hand-made films climbed. Even in Ryan(img. 2), Academy Award winning 3D short film, there was that aesthetic of freshness.

As it turned out, the independent animated filmmaker didn’t disappear, they turned to the short film format, digital tools to keep innovative 2D filmmaking throbbing. With the arrival of Sita Sings the Blues and The Pearce Sisters(img. 3) here was strong evidence that artists were using the digital tools to be more inventive than many of their highly budgeted feature length counterparts. This must have seemed very inspiring for aspiring moving image artist who could gain access to a computer and a few other basic digital tools.

For part 2 of this article please visit newly launched digital magazine Island Art & Design

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Exhibition Billboard Project

Exhibition Billboard can be found here on Facebook and an interview with one of its founders, artist, Camille Chedda follows below

What is Exhibition Billboard and what is the idea/ aim behind it?

 Exhibition Billboard Jamaica is a facebook group I created to inform people of exhibitions or art events in Jamaica and exhibitions featuring Jamaican artists internationally. This applies to all visual arts i.e fine arts, applied arts and includes spreading information about art sales, classes, fairs and lectures.

 How does it work if I am interested in posting my event or attending an event?  

 Members of the group can send me an email at ms.chedda@gmail.com with information about any event they would like to see on the group page. I generally provide links to pages outside of the group that others have created to promote their art events.

 Do you attend the events and if so is there any kind of reportage or documentation or plans to do so in future?

 I have not been to most of the events because I am operating out of town (most events are Kingston based). Documentation is something I would like to do in the future for the group. For now I’m relying on the Gleaner/Observer to provide feedback on events, but these sources tend to be inadequate at times because they don’t always report on these shows.

 When was it started and what are your plans for developing this initiative?

 This group was started in the latter part of 2008. So far I have had positive feedback, but I would like to play a more active role in attending events and providing information about them. I would also like to get more people involved in developing the group to make it more interactive. I would like to have more dialogue about shows. I suppose this could be extended into a blog such as artjamaica.blogspot.com.

How do you see this activity in your role also as an arts practitioner? 

Its been beneficial for me. It is important that people see your talents and unique ideas. I think its sad if your works are on display in a gallery or an art fair and no one is there to see it. You get no feedback, you get no sales. I think it's my job to spread awareness of art happenings so that both the artist and the art viewer will benefit.

Is being a kind of arts journalist changing your outlook or place within the arts scene?

 Not sure if I can answer this one since Ive not been attending much of the shows.

  How does a social network like Facebook allow you to devote time to providing this service?

It makes it easy for me to reach people outside the usual art crowd and get them to see art. Facebook has become a daily staple in people's lives so I found it useful in reaching a wide range of people.

 What are the kind of trends/changes you are seeing in the 'Jamaican Arts Scene' with your work with Exhibition Billboard?

I know that people are more aware of art happenings. People use the group as a calendar of events and have been able to plan their time around seeing an exhibition or attending an art class. Art events are getting the notice they deserve. People outside the general art circle are getting involved in viewing art. The Jamaican art scene is growing as a result.

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Annalee Davis: ON THE MAP

Annalee Davis, experienced visual artist, activist, designer tells us about a recent project, ON THE MAP, a documentary video project. For artists who are interested in venturing into making documentaries and some activist projects, Davis sets an example.

What is 'On the Map' about and what does it seek to achieve?

ON THE MAP is a thirty minute video project airing intimate discussions with undocumented Caribbean migrants who speak of life between the cracks. More specifically, it looks at the movement of people from Guyana to Barbados, revealing gaps between the official stand on Caribbean integration & the experience of unskilled Caribbean migrants, within the context of the CSME (The CARICOM Single Market & Economy).

The goals of ON THE MAP are:

1.To give a voice to the numerous voiceless and tell a contemporary story of intra-Caribbean migration.

2. To sensitise the public and policy makers to key social issues.

3. To contribute to conflict resolution at the community level while promoting tolerance, understanding & respectful coexistence.

4. To foster policy debates and political attention to the development of sound socio-economic policies under the integrative sheme.

5. To use my voice as a visual artist as a legitimate language to back chat to the state and engage in debate.

How did you transition into making documentaries from your earlier work ( paintings, drawings etc.) and do you see the documentaries as a part of your fine art practice or are they two different realms?

On the Map evolved naturally out of work I had done in relation to notions of home, longing and belonging. The region's attempt at becoming an integrated space is ultimately a question about Caribbean people claiming the archipelago, hundreds of years later, as home. The fact that we 'otherise' some Caribbeans as less then legitimate, is questionable. It seemed that the most effective way to speak to the migrant experience in the way I wanted, was through video....the project determined the transition into this new media...new for me. I am not sure that the On the Map exists in a different realm to the rest of my work...I see it more as a progression through ideas which are being developed thoroughly.

How do you finance and actualize your projects and is this something that the Barbadian Government participates in?

I received a government seed grant to assist with some of the pre-production and production costs of the project. A lot of it is self financed. I was producer, director, script writer and gopher! I worked with Omar Estrada, a Cuban artist who was the cinematographer and editor. I also worked with two other Cubans - David Alvarez, the director of an orchestra in Cuba and a musician, who came to Barbados to compose the music for the project and Henry Garcia did the animation for the video. It was a small team - underpaid, and over worked. The Barbados government has expressed interest in supporting projects which fit into the state's agenda to earn foreign exchange and grow Barbados' economy....not necessarily to develop the contemporary visual arts as a stated focus.

Your blog is quite socially activist and politically involved, how does this act as a medium for your documentary and fine art work?

The blog has helped to increase awareness about the issues while providing a broader platform to participate in the national and regional debate. It functions as a constant back up to the project, keeping it current by archiving issues related to intra-Caribbean migration. It is one of my projects which has received the widest attention, outside of the art community, resulting in my participation as a writer in the regional press and on panels on radio programmes. I like the fact that the medium which generated the public's interest in my perspective on this issue, is the visual arts.

Is there a particular atmosphere as it relates to the art in Barbados that fuels your work?

Although there are a number of artists who are producing intelligent work throughout the region; as an insular island, Barbados does not enjoy the attendant supportive institutional framework needed to develop the visual arts in the way, for example, you might see in the Spanish Caribbean. I am committed to this part of the world where I continue to live and work, with all of its frustrations, and at the same time, am developing relationships regionally and internationally to build opportunities for the work to be seen.

What kind of projects and collaborations are you open to across the region?

On the Map has evolved into Project 45....a suite of 45 projects that continues to examine the anxieties surrounding the free movement of people, while questioning the parameters that define who belongs and who doesn't. I recently worked with a videographer, someone who relocated to Barbados last year and who produces video documentary. Together, we recorded an interview with a Vincentian woman who wanted to tell her story of being harassed on the local bus by Police and Immigration authorities. (The state has recently taken to spot checking travelers' documentation to prove their legal status to live, work and reside in Barbados.) I am interested in collaborating in this kind of way, with individuals on projects that expand this discussion. In addition, I am collaborating with Canadian based, Barbadian visual artist, Joscelyn Gardner to launch a web-based project to facilitate critical discourse and opportunities for all kinds of interactions among artists and writers.

To find out more about Annalee Davis and these projects please check: http://creole-chant.blogspot.com/ and www.annaleedavis.com

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Shaving Bob Marley and giving you the finger.

Yuli Kande's (寒出 優里) works from Kyoto Current 

Living in Kingston, made me realise many things. One of which is that Bob Marley is one of the nation's most imaged persons in public spaces. Visiting Kyoto Current a couple weeks ago at Kyoto Municipal Museum of Art allowed me to see the image that is familiar but now represented differently. The Bob Marley portrait is just one of several large iconic portraits done by Yuli Kande. From an image seemingly familiar from American media such as a woman perhaps of Hispanic or African-American ethnicity painted on top of glittery bling giving us the finger to what can be read as a Japanese woman of homogenic identity  giving the well known Japanese snapshot fingers. Kande's work reminds you of the inside of the cadillac's of hip-hop culture. She seems to be using 'pimp my ride' aesthetics to etch out iconic cultural images. 

The show had so much to see and the young hopeful artists had an auction this weekend gone by. I am not sure how this works yet with the Japanese equivalents of Charles Saatchi but there was diversity to be seen. I saw what I expected and what I didn't. There were quiet zen-like landscapes, highly technical futuristic images, conceptual performance-derived work, tiny aesthetic statements and large explorations. I chose Kande's work for this post because I enjoyed it immediately and more importantly it confronted me. In the tranquility of Kyoto, anything that gives me the finger will get my attention. 

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VISUAL ACTIVISM: Phillip Rhoden's viewpoint

concept for "High school Drop out"

Phillip Rhoden was among the recent group of final year students mounting their final exhbition at The Edna Manley College. His body of work was pointed out to me as making a particularly individual statement about contemporary image-making. He seems to point to a newer directions at the college where the ideas approaches are interdisciplinary. In a year where you have a Visual Communications student having a 'painting exhibition' and a Fine art student  exhibiting an animation Phillip's statement about his artistic approach sheds some light.  

'Visual Activism, is when a person or a group of people, use their artistic abilities to create a series of visual campaigns, to spark social awareness or social change. Visual activism is not just limited to the Visual arts.  Music Artist can also be consider as Activists as well, as long as the underlying message is geared towards highlighting or speaking out against something the artist see’s wrong in society.  Activism plays a very key role in art, as art sometimes provides a way of communicating to people of different nationalities and religions; the way how you see life, problems you face because of your social surroundings and how you feel about them and what change you would like to see. And through art social boundaries such different languages are diminished as Art serves as a universal tool of expression. 

...I have to be very selective when I'm deciding which client, I will use activism as my approach. I find that company's such as Red Bull, to be the most receptive to the use of activism as means of marketing, but it has to be done in a way where its marketable to broad audience without stepping too hard on anyone's toe.

In terms of its role in the art community? I see visual activism as the Spies of Art, just enough of it will make things feel and taste just right. But when its over and done and been thrown in the face of the public on a daily basis, it begins to have a harsh taste, so people try to avoid it. Cause when you take a dirty attribute of society and make it beautiful. You fine that through that artwork, you offer a means of realization to the public without the waste of words.

-edited from an online interview at The ART:Jamaica Facebook Group page.

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