Jackie Hinkson
Watercolours
30 x 22″
2019
Responding to Tiepolo’s Hound by Derek Walcott.
Jackie Hinkson
Watercolours
30 x 22″
2019
Responding to Tiepolo’s Hound by Derek Walcott.
Jackie Hinkson
Watercolours
30 x 22″
2019
Responding to Tiepolo’s Hound by Derek Walcott.
Jackie Hinkson
Watercolours
30 x 22″
2019
Responding to Tiepolo’s Hound by Derek Walcott.
Jackie Hinkson
Watercolours
30 x 22″
2019
Responding to Tiepolo’s Hound by Derek Walcott.
Paul Kain
2019
Acrylic on Canvas
Responding to Night in the Gardens of Port of Spain by Derek Walcott
Dean Arlen
2019
Mixed Media on Canvas
4 x 4′
Responding to Night in the Gardens of Port of Spain by Derek Walcott.
Horacio Hospedales
Bamboo, paper, silver-plated wire, jute, thread.
Responding to Self -Portrait as Last Citizen of the Island by Nicholas Laughlin and Night in the Gardens of Port of Spain by Derek Walcott
Wendy Nanan
2019
Mixed Media Installation
Responding to The Body in the River by Andre Bagoo.
Sabrina Charran
2019
44 x 50 “
Acrylics on Canvas
Responding to Chacon Street by Andre Bagoo.
Susan Dayal
2019
Wire and Human Hair
Responding to Night in the Gardens of Port of Spain by Derek Walcott.
Edward Bowen
72 x 96″
2019
Acrylics on canvas
Responding to Night in the Gardens of Port of Spain by Derek Walcott.
Brianna McCarthy
2019
22 x 30”
Watercolour
Responding to Night in the Gardens of Port of Spain by Derek Walcott.
Adele Todd
2019
Net Mesh, voile
Responding to Night in the Gardens of Port of Spain by Derek Walcott.
Che Lovelace
2019
Assorted Pigment on Board
50 x 60″
Responding to an excerpt from Salt by Earl Lovelace .
Susan Dayal was born in Trinidad in 1968. She studied Sculpture at the Duncan of Jordanstone College of Art and Design in Dundee, Scotland.
Susan makes sculpture using the technique known locally as wirebending. The female torso and the mask are recurring themes that are used to explore the imagery of Trinidad Carnival, folklore, feminism and tropical flora and fauna.
Statement:
“Walcott uses the metaphor of the woman to describe the sensual aspect of night. The darkness awakens our senses of feeling, smell and hearing while our sense of vision is reduced to the binary reading of light and dark, absent of tone and colour.
The nightclub (boîtes de nuit) reference sparked the image of the go go dancers of the 1960s with their embellished costumes. I used the green fence wire to connote garden imagery and my hair for the tassels and fringe to add the sensual aspect.” – Susan Dayal
Horacio Hospedales is a Trinidad-born multi-media artist who has been practicing for twenty-five years. While exhibiting his fine art in Manhattan, he became a muralist and decorative painter working mainly on exclusive homes throughout New York, Connecticut and New Jersey in the USA. There was a break in his creative career when he returned to Trinidad in 2004 for family obligations but has returned to making since 2013.
Statement:
“Night in the Gardens of Port of Spain” by Derek Walcott took me to my childhood memories of the Croisee at night… the heat and car exhaust and people and coal pots and roast corn and cussin’ and maybe a one off scuffle if I was really lucky to witness from the backseat of the family car.
Nicholas Laughlin’s ‘Self-Portrait as Last Citizen of the Island’ I couldn’t find in my childhood memories but through the process of making his words seemed to echo what Trinidad and Tobago feels like to me today.” – Horacio Hospedales
Born 1963, Eddie Bowen studied at Croydon College, UK from 1981-1985. He has since been living and working in Trinidad, often letting his environment in San Souci, be his muse.
“My perception of visual art has evolved towards a performative act-tion within the political socio-economic life of the urban, the rural. A kind of schizophrenia within aesthetics, as I rethink the value of the studio and how the practice engages its space. There is a conscious consideration of art for tomorrow” – Dean Arlen
DONALD ‘Jackie’ Hinkson was born on the 13th September 1942 in Port of Spain, Trinidad. He grew up with his family in an area known as Cobo Town in the heart of POS. At Richmond Street Boys Primary School he began drawing images from comic and other books. At secondary school, Queen’s Royal College, he began painting with fellow student Peter Minshall, renowned carnival costume designer.
He furthered his art studies at the University of Alberta, Canada where he graduated with a BFA and a Diploma of Education. After 1970 he at first focused on plein air watercolours and drawing but since then has expanded his expression to include oils, acrylics, wood sculpture and iPad art, producing from small to mural size work. His style has remained mostly realistic and figurative but often with a strong sense of the abstract and his subjects range from landscape to architecture, the human figure in all aspects of national life and social commentary.
The artist has exhibited locally, regionally and internationally with a major retrospective in 2012. He has produced three books. His over 100 sketch pads have been inscribed by UNESCO into Trinidad and Tobago’s Memory of the World register 2010. In 2011 the University of the West Indies conferred on him an Honorary Doctorate. In 2019 the Republic of Trinidad and Tobago conferred on him the Chaconia Medal Gold. The artist married Caryl Blanche-Fraser in 1967 and has three children and nine grandchildren.
Statement:
My work is fuelled by a complex personal history. I explore past trauma, lost memories and suppressed emotions. It is a dedication towards healing and a creative exploration of the resulting themes of loss, the fragility and impermanence of familiar spaces, and the female body as a site of contention. I have always pursued art as self-led therapy.
‘My Seat at My Table’ is a hybrid of a children’s pop-up book and paper dolls. Sketched from childhood photographs, I am faced with 14 versions of myself at a young age. Seeking psychological integration I also welcome the forgotten ‘children’ who are at peace. They sit alongside the children of trauma who my past work exclusively paid tribute to.
Flowers and insects have been recurring visuals in my work, taking on new meanings and they continue here.
After Earl Lovelace’s ‘Salt’
Statement:
The act of creating is an act of response.
For a painter, a text can do a lot.
It can open a window onto a view;
or evoke colours or a mood.
Painters process information visually;
but above all, emotionally.
Sabrina Charran is a Visual artist and educator from Trinidad and Tobago. She received her BA in Visual Arts at the University of the West Indies, St. Augustine. Her work includes figure drawing, figurative painting and street art. She has exhibited in several group shows including Galvanize “Visibly Absent” (2006) at the CCA7, The Bottom Line (2006) at the Cotton Tree Foundation, Erotic Art (2009) at Alice Yard, “Represent” (2018) at Thinkartworktt Studio, “4Drawing” (2018) at The 101 Art Gallery and “The Mighty Sparrow Show” (2018) at A Space Inna Space. In 2015 she had her first solo exhibition, “LOVEHATE”, at Medulla Art Gallery. Sabrina was the festival artist for Trinidad + Tobago Film Festival 2018 and further collaborated with the ttff to curate the “Heart Therapy Project” at the LOFTT Gallery which featured the artworks of a group of girls that she did voluntary art sessions with at the St. Jude’s Home for Girls in 2015 and 2018. Since 2008, Sabrina has been employed with the Ministry of Education, teaching Visual Arts and Art and Design at Queen’s Royal College.
Wendy Nanan, born Port of Spain 1955, BFA 1979,has been working and showing continuously both in Trinidad and abroad since 1986. Some of her most notable shows and imagery to enter the Trinidadian iconography are from the cricket drawings, the Banana sculptures, and the Idyllic Marriage series. The Books and Stupas show, the Baby Krishna series and more recently in 2016 the shells and pods exhibition. Considered one of Trinidad’s treasured senior fine artists her personal vision is that of the contemporary West Indian artist observing a post-colonial creolised society through the lens of a traditional East Indian background, but rooted firmly in feminist ideology.
Using soft material to tell ‘hard’ stories is at the crux of my Art practice.Over the last nineteen years, Embroidery as well as Performance have been the lens through which I look at societal and cultural issues exclusive to Trinidad and Tobago yet universally relevant. I comment therefore on systems of Injustice. My Art has been seen in Galleries and Museums in Glasgow Scotland, Taipei, Taiwan and Beijing, China among others.
……….
I chose Night in the Gardens of Port of Spain by Derek Walcott as my reference.
I was struck by the idea of a hard to capture memory. Thus I chose net and mesh as my materials to interpret this poem. Experimental in nature, my intention is to give the viewer a glance at images that cannot quite be seen or held. In the same way that one wakes from a dream trying to catch its meaning, this work takes on that gossamer aspect recalling the dream sequence.
– Adele Todd
Paul Kain born in Trinidad studied at the Open Window Art Academy in Pretoria South Africa obtaining a four year diploma in fine arts and visual communication and one year at Rhodes university in Grahamstown eastern cape South Africa. participating in numerous group exhibitions and has held to two solo exhibitions.
Responding to Night in the Gardens of Port of Spain by Derek Walcott.
