NGJ Summer Exhibition: Nathan Cunningham

Nathan Cunningham

Nathan Cunningham - Dance with a lady - NG035

Nathan Cunningham – Dance with a lady

Pulling from his life and surroundings Nathan Cunningham creates detailed and colourful drawings that relive past experiences.

Nathan Cunningham - Greatness is what - NG034

Nathan Cunningham – Greatness is what brings all of us together

NGJ Summer Exhibition: Heather Sutherland Wade

Heather Sutherland Wade

Heather Sutherland Wade - Coastline NG011.jpg

Heather Sutherland Wade – Coastline 1 (top) & 2 (bottom)

The desire to paint comes when I am in awe of the beauty that surrounds me.

I am fortunate to live in and enjoy a beautiful part of the island.

I delight in the array of colours, and I see this in nature.

I am fascinated by the beauty that is my country.

Heather Sutherland Wade - Wildflowers - NG052.jpg

Heather Sutherland Wade – Wildflowers

My gift of Art enhances my view. As a landscape artist I feel, I think, I ‘see more abundantly’ when I look at the hills, at the many different views and at studies of our coastline. 

In looking and seeing, I experience His grace. I sense His peace as I am enraptured by a tropical sunrise, fishing boats at rest, the sun lighting the hills or setting behind the mountains.

I am just simply thankful to the Creator for opening Heaven’s windows and allowing me to experience creation from a unique vantage point.

Instagram: ArtconnectJa
Facebook:  Heathersutherlandwade

NGJ Summer Exhibition:Stafford Schliefer

Stafford Schliefer

Stafford Schliefer - Carnival Night - NG016

“Carnival Night” was inspired by Caribbean and Brazilian carnivals, the latter having been witnessed on some very colourful nights spent on a visit to Rio de Janeiro, in which the brilliance of the procession was surprisingly not at all dulled by the night. The vitality, energy of physical movement was overwhelming – kept in my mind until and throughout execution of “Carnival Night”. The predominantly black background conjures the night time backdrop, while the use of collage alongside brushing with acrylic paints allowed for the incorporation of items such as coloured feathers, fake jewellery, sequins, varicoloured pipe cleaners, and a carnival mask, all affixed with permanent adhesives. 

Stafford Schliefer - Wind and Light - NG025

Stafford Schliefer – Wind and Light – View of Mavis Bank

“Light and Wind, Mavis Bank” was birthed as a result of dramatic cloud formations observed on a trip to Mavis Bank. In keeping with my traditional infatuation with natural movement, the impressionist technique used allowed me to capture the circular and horizontal shifting of clouds, which appeared to be composing / changing the sky’s stage by redistributing sunlight, a phenomenon which never fails to stimulate me. 


NGJ Summer Exhibition: Courtney Morris

Courtney Morris

My work examines the complexities of place, ecology, memory, and the constant search for “home.” Specifically I am interested in understanding the ways that we inhabit place – through migration, ancestry, and shared social memory — and how place inhabit us. This interplay between landscapes and human subjectivity is evident in the ways that I use my own body as a staging ground for re-membering my families’ experiences of loss, dispossession and the persistent struggle to make a place for oneself in the world. I am particularly interested in examining these questions through the experiences of female ancestors and elders whose stories are often disappeared in both family histories and official historical narratives of how places, economies, and histories are made.

Courtney Desiree Morris - Sugar House Road - Artist

Courtney Desiree Morris – Sugar House Road

The piece, Sugar House Road, comes from my first collection, Soil, which reconceptualizes my paternal family’s relationship to the agroindustrial landscapes of south Florida, specifically the sugarcane fields surrounding Belle Glade, which attracted thousands of labor migrants from the Anglophone Caribbean from the mid-1950s through the 1980s. This work is a meditation on the fraught connections between blackness, labor, migration and the multiple afterlives of slavery throughout the African Diaspora. In one sense, the work is an effort to excavate the stories of Caribbean labor migrants whose labor in the cane fields has gone largely unrecognized in the region’s history. Beyond that, however, the series uncovers the kinds of sacred memory that structures the historical continuities between contemporary labor migration and colonial systems of enslaved labor in the process of industrialized sugar production. As one of the first truly global commodities, sugar has played a central role in the making of the modern world. Soil attempts to re-narrate that drama by focusing on the stories of ancestors and everyday workers, past and present.

Courtney Morris - destruction_roehampton

Courtney Desiree Morris – Destruction of Roehampton

In January 2019, I completed Colly Comes Home, a series that examines my relationship with my father via his relationship to our ancestral home sites in Montego Bay, May Pen, and Mandeville, Jamaica. This series revisits my father’s memories of growing up in these communities, his family stories of migration throughout the island, and the connection to the island’s colonial slave past. The series weaves together landscape photography, portraiture, and architectural photography to consider how the colonizer’s narrative of the world and the counter-histories of exploitation and striving by the formerly enslaved exist in a precarious tension. This work was published in the travel magazine, Stranger’s Guide. The Destruction of the Roehampton Estate is part of this series. The piece’s name is derived from the 1833 lithograph, Destruction of the Roehampton Estate, by Adolphe Duperly, a French printer who established one of the first photography studios in Kingston. The print documents the participation of enslaved men and women held at the estate in the 1831 Baptist Rebellion that swept the island’s western parishes during the Christmas holidays.

I work primarily in the fields of large-format portrait and landscape photography, experimental video, and performance art. I am drawn to these mediums because of the ways that they allow me to engage and play with my family’s history by performatively inhabiting the stories of my childhood and imaginatively filling in the gaps where “facts” are either unknown or in dispute. Photography and video are critical tools for providing viewers with a deep sense of place and historicity that defines all of my work. Alternatively, performance functions as a kind of time-traveling technology where I can revisit and restage sites of ancestral memory, interrogate the present, and imagine new kinds of social and environmental futures.

Instagram: @creolemaroon

NGJ Summer Exhibition: Jag Mehta

Jag Mehta

Jag Mehta - No. 1 - Done in Japan - NG090.jpg


I start on a new ceramic piece with very vague idea as to its shape or its finished look. However it very rarely turns out like my original idea. As I work with a  piece of clay in my hands it comes alive and leads me through each step, particularly when I am working on a round or cylindrical piece. Near the end clay completely takes over and guides me to the finished final look. Many a time my pieces may give an organic and unfinished look.

My ceramic pieces are mostly done by coil method on a  small nonelectric wheel, similar to a Lazy Susan, which I slowly move by hand to give it desired shape to clay.

I have no formal education, diploma or degree in study of ceramics/arts. I know very little about glazes ( which in itself is a science and art), I use oxides and underglaze colours which do not need much knowledge, experimentation or experience. 


Jag Mehta - No 2 - Done in Japan - NG105

Jag Mehta – No 2 – Done in Japan

I have been doing ceramics for over 42 years as a serious hobby with solo, joint and group shows in Jamaica, Puerto Rico, India and London, UK. 

I do have degrees from Cornell University and Columbia University. No wonder I am called “Odd Man Out”.

NGJ Summer Exhibition: Rex Dixon

Rex Dixon


Rex Dixon – Mountain View

The two paintings submitted “Mountain View” and “Savannah” are visual  autobiographical statements commenting on natural phenomena which express psychological insights into the artist’s mind and thinking. I live in Trinidad in an area called Mountain View which still has a lovely dedicated savannah as preserved playground for those who live in this spot. Mountain View was  originally part of a Spanish settlement and capital of Trinidad up until the 18th century. It was a fertile agricultural space, wooded and well watered by the St. Joseph river. Today remnants of this past are still evident in the colurs and textures built up over the painting surface echoing time and place in the valley, but scars of incursion into mountains and riverbeds are glaring, and are mirrored by the blocks of letters and words on the painting. The parellel between landscape and memory are evoked in these pictures by the use of words, colour and gestural application. 


Rex Dixon – Savannah

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