While we wait for the production of a longer video on the Digital exhibition, we are pleased to present this teaser video with interviews with three of the artists in the exhibition.
The Digital exhibition includes several collective projects. The GIF “darron.gif” by Rodell Warner, Arnaldo James and Darron Clarke is one of them.
Rodell Warner is a Trinidadian graphic designer and photographer, born in 1986. He has exhibited in Kingston, Johannesburg, London, New York, Washington and Maracaibo. Rodell was a recipient of the 2011 Commonwealth Connections International Arts Residency and he was an artist in residence at New Local Space (NLS) in Kingston, Jamaica in 2014.
As a photographer, teacher and designer (graphic and product), Arnaldo James interrogates gender, race, privilege and exploitation. These interrogations often develop into spaces that encourage safe interactions challenging marginalization based on gender identity, ethnicity, sexual orientation, age, class and mental/physical ability. James engages his photographic portraits as collaborations, acknowledging subject as co-creator. This collaboration with Warner and Clarke is an act of intentional support among Black men.
Darron Clarke was born in Trinidad in 1991 and is represented by Major Model Management. Clarke lives and works in New York.
About the Work
The image darron.gif is the negative of a photograph of Darron Clarke, covered in Rodell Warner projections, shot by Arnaldo James. The photograph was animated by Warner and is presented including additional animated GIFs.
Here is another feature on an artist in the Digital exhibition:
Dionne C. Walker is a film producer and curator with years of experience in television media production including the making of films such as Kubrick’s Eyes Wide Shut, Spooks and the Harry Potter series. She has developed unique programmes for both wide and niche audiences on both sides of the Atlantic. Dionne’s first prominent artistic effort was as the festival director of the inaugural Camden Film Festival: Made in Camden CNJ feature, for which she designed and programmed locally shot films including The Lady killers and cult indie Withnail and I. She has worked in partnership with Roundhouse, ICO, Odeon and MTV Europe. Walker has curated as well as participated in Waves of Protest, British Museum (2011) and Caribbean Cities: Kingston and Havana (2009). She lives and works in the United Kingdom.
About the Work
“00:15:16 is a set of hashtag GIFs representing a sense of place, examining race, class, religion and environment. They review last year’s overwhelming issue of police violence and the killing of unarmed black men in the diaspora. 00.15:16 wants to oppose the binary of #blacklivesmatter and #alllivesmatter and juxtapose the condition inside an emergency room – that is plastered with imagery of bloodiness, not white or black.”
Phillip Thomas is represented in the Digital exhibition, which opened on Sunday, April 24:
Phillip Thomas was born in Kingston, Jamaica, in 1980. He received a BFA in Painting from the Edna Manley College of the Visual and Performing Arts (2003) and an MFA from the New York Academy of Art. Thomas has exhibited widely in Jamaica and abroad, and his awards include the Bronze Musgrave Medal in 2014, the Aaron Matalon Award in the NGJ’s 2008 NationalBiennial, and the Public Prize in the 2006 SuperPlus Under 40 Artist of the Year competition. He represented in local and international collections, including at Sotheby’s and the World Bank. He currently lives and works in Kingston, Jamaica where he lectures at the Edna Manley College.
About the Work
Phillip Thomas’ paintings rely heavily on appropriated images, taken from the worlds of fashion,interior design, historical and documentary photographs and many other sources, and often include collaged elements. The resulting images reflect with ironic sophistication on history, race and sexuality and raise questions about the social roles of art, particularly the tension between its status as a luxury commodity and its potential for politically potent and subversive visual interventions. Thomas has for many years been using digital media to produce the studies for his paintings but these digital studies often take on lives of their own as image meditations that reflect more directly on the politics of representation. Printed on PVC, on a scale comparable to his paintings, the digital images in this exhibition simultaneously challenge and reinscribe the luxury commodity value conventionally associated with his art.
Henri Tauliaut is another of the artists in the Digital exhibition, which is on view until July 4, 2016:
Henri Tauliaut was born in Guadeloupe in 1966. He defines himself as a digital and a “bio-artist.” He has been educated at a number of regional and international institutions, including the Mains d’Oeuvre in Saint Ouen, France, where he trained in interactive art (2015). From 2012 to 2016, he attended the Doctoral School of the Université Antilles Guyane (University of the French West Indies and Guiana). He was featured in the 12th Havana Biennial in Cuba in 2015. Tauliaut currently works and lives in Martinique.
About the Work
“For fifteen years I have been developing an approach around the thematic of living things and artificial ones. The common denominator of my projects is the link that they draw between art and science. Additionally, they all address the question of Life, its complexity, its beauty, its extraordinary profusion and banality. … While these projects have some autonomy between them, they contribute to each other to produce new works; this is what I call ‘Visual translations.’”
“My projects are primarily aimed at introducing new items into my art: my research around the Organic Project incorporated ‘living items’ as artistic materials. Also, I infused my work on courtship rituals with the strategies and behavior of seduction. In my other work, D.E.V.A.H., where I question Life, I introduced elements necessary for the development of life. In the framework of this project, I realized a laboratory where plants thrive to develop in extreme conditions in order to create unique vegetal species in the world: The Cultivarts.”
Digital is now open to the public and will be on view until July 4. Here is a feature on another artist in the exhibition:
Gregory Stennatt was born in London in 1966, to a Jamaican family. A multi-media artist, specializing in digital film, he describes his works as “moving art images”. He spent over two decades working for a number of television production companies, including the British Broadcasting Corporation (BBC), as well as in independent production. In 1999, he obtained a postgraduate degree in Independent Film/Video (Film Theory, History, and Criticism) at University of the Arts, London. In the same year, he co-curated (with Tony Rayns) the award-winning Japanese experimental and video festival Vanishing Points at London’s Institute of Contemporary Arts. Among his many achievements, Stennatt was awarded a 12-month UBS/Daiwa Anglo-Japanese Foundation research bursary to visit Tokyo in 2000, where he continued research into Japanese avant-garde cinema and advised the British Council on Japan-2001, with the idea for a Clubland Japan-UK youth culture collaboration. Presently he lives and works in Tokyo, Japan.
About the Work
“The Figure in Action digital film is composed of series of still photographs, having its roots in traditional fine art, but employs a modern time-lapse photographic process to achieve an animated illusion. … The cinemagraph-like pieces in Figure in Action attempt document the sequence of human movement but also reveal visual phenomena that the human eye, unaided, cannot easily perceive. The studies are reminiscent of Eadweard Muybridge’s still photographs of 1878-9, illustrating for the first time repetition or consecutive positions assumed by animals and people in motion. Dynamism of A Dog on a Leash” (1912) by Giacomo Balla, and Nude Descending a Staircase No. 2 by Marcel Duchamp (1912) are examples of artists in the past attempting to capture unseen movement. These paintings and photos depicted movement at a time when cinematography was still in its infancy with (animated flick books) a remnant of the 1886 Kineographs.”
“The Figure in Action studies are more like impressionist paintings and drawings than they are HD digital videos. Above all, they defy Western conventions in art and philosophies that dissect and categorise things that were once thought of as connected in African and Caribbean cultures. Figure in Action is part of a body of work that attempts to reconnect ‘the interconnectedness of things,’ and demonstrates a symbiosis between what was once thought of distinct artistic disciplines.”