Explorations 3: Seven Women Artists – Jasmine Thomas-Girvan

Jasmine Thomas-Girvan - None but Ourselves (2015)

Jasmine Thomas-Girvan – None but Ourselves (2015)

Here is the final of our posts based on text panels in the current Explorations 3: Seven Women Artists exhibition, which opens today and is on view until August 8:

Bio

Born in 1961 in Jamaica, Jasmine Thomas-Girvan attended the Parsons School of Design in New York, where she received a BFA in Jewellery and Textile Design. Thomas-Girvan currently lives and works in Trinidad.

Jasmine Thomas-Girvan - Anansi (2009)

Jasmine Thomas-Girvan – Anansi (2009)

About the Work

Other artists in the exhibition produce work that conforms less to narrow expectations about women’s art but nonetheless seems to reflect female perspectives. The sculptural and sometimes wearable work of jeweller Jasmine Thomas-Girvan explores the complexities of Jamaican and Caribbean histories as well as the cultural and political implications of those histories. Her spectacularly surreal assemblages often employ, or are inspired by naturally occurring plant matter and actively utilise found objects that have a personal resonance with the artist.

She often takes inspiration from Caribbean and Latin American literary sources. Olive Senior’s Gardening in the Tropics is a strong reference and Amazonia embodies the spirit of Senior’s words. Regally depicting, in bronze, wood and calabash, the type of woman many in this exhibition have had to be: balancing the concerns of childrearing with the other responsibilities that usually revert to women and still being able to express themselves artistically.

O’Neil Lawrence, Exhibition Curator

Jasmine Thomas-Girvan - Dreaming Backwards, mixed media - detail

Jasmine Thomas-Girvan – Dreaming Backwards, mixed media – detail

About Women’s Art

“When I think of women’s art two words come to mind: tactile and contemplative. Tactile, because process is an inherent characteristic; and contemplative, because the creative process, from idea to completed work, is often interrupted by domestic life, which though messy and frustrating exacts a kind of deliberation that gives ideas time to ferment, developing a dialogue with time. A female sensibility does not only exist in biological life experience but is a product of a specific cultural time and place.”

“In the contemporary Caribbean space, women’s creative pursuits mirror dynamic challenges to previously determined canons and this does not necessarily translate to confrontation. It means understanding your perceived role as an artist, the function and purpose of your art, reconciling this with private and public realities, always searching for a connecting thread or meaningful metaphor.”

“My energies are always in dialogue with our history, past and present, returning to the primal locations of life – to memory, to the body of self and Earth, to birth, growth, decay, death and rebirth in a ceaseless cycle, recognising a connection to the ephemeral elemental forces that shape us alongside the historical, political and cultural forces which have damaged us.”

Jasmine Thomas-Girvan

Explorations 3: Seven Women Artists – Judith Salmon

Judith Salmon - Pockets of Memory (2012)

Judith Salmon – Pockets of Memory (2012)

The Explorations 3: Seven Women Artists opens today, May 31 and will be on view until August 8, 2015. Here is another text panel from the exhibition:

Bio

Born in 1952 in Kingston, Jamaica, Judith Salmon holds a graduate certificate in Museum Studies from the University of South Florida; an MFA from Johnson State University in Johnson, Vermont; a BA in Liberal Arts from Norwich University in Vermont, USA; and studied painting and printmaking at the Chicago Academy of Fine Arts, USA. Salmon lives and works in Kingston, Jamaica.

Judith Salmon, Palimpsests (2014, detail)

Judith Salmon, Palimpsests (2014, detail)

About the Work

The dynamics of memory and the resonance of materials are at the heart of the installation and assemblage work of Judith Salmon. The multiple physical and conceptual layers of the work Palimpsests of Life, made from liquid beeswax and found objects, represent a tactile accumulation of experiences and explore the way in which memories are preserved, obscured or lost over time. The invitation to touch, to share in an experience is a real one in the interactive and ever-expansive Pockets of Memory which invites viewers to leave notes or other items of personal significance in the crocheted pockets enabling their experiences to become part of a work representative of the collective human experience.

O’Neil Lawrence, Exhibition Curator

About Women’s Art

“I grew up in the era when children were expected to be seen and not heard. My socialization evolved from activities at home, school, church, and entertainment such as Miss Lou and Mass Ranny, float parades, Jonkonnu, and making Christmas cakes.  Art seeped into my awareness during high school and became my passion.”

“According to the art historian Linda Nochlin: ‘It is only by adopting … the “masculine” attributes of single-mindedness, concentration, tenaciousness, and absorption in ideas and craftsmanship … that women have succeeded … in the world of art.’ These qualities are necessary for achievement in any field, whether art, athletics or business. They are neither masculine nor feminine attributes, but strategies for survival, which women, especially those who play multiple roles like artist and mother, must actively cultivate. What comes before single-mindedness, however is nurturing, and permitting children to be heard.” 

“This exhibition can function as a looking glass for assessing our journeys and contributions as women. It can also be a window for looking regionally and globally to assess how we measure up. Audiences may become curious about the creative processes for women, and making art could be demystified. The imaginative life is work, after all.”

Judith Salmon

Judith Salmon -  Book of Days (2014)

Judith Salmon – Book of Days (2014)

Explorations 3: Seven Women Artists – Berette Macaulay

Berette Macaulay - (CrowDED) (2009)

Berette Macaulay – Anishka (CrowDED) (2009)

The Explorations 3: Seven Women Artists exhibition opens tomorrow, Sunday, May 31. Here is another text panel from the exhibition:

Bio
Born in Sierra Leone, Berette Macaulay grew up in Jamaica while also spending considerable time in the UK. She obtained her BA degree in Theatre from Marymount Manhattan College, New York, and now lives and works in New York.

About the Work

The search for personal identity, selfhood and belonging is at the heart of the photography and multimedia work of BeretteMacaulay. She not only explores traditional analogue and digital photography but also uses various experimental techniques, such as Polaroid image transfers and chemical manipulation. Using these techniques, Macaulay has produced several seemingly divergent bodies of work, such as the CrowDED, Neue Rootz and, most recently, the ongoing ReKONstruction: Differentiated Possibility series. The haunting, turbulent images in CrowDed speak to overcoming personal trauma; the drive to resolve those histories and its relationship to the construction, reconstruction and establishment of family ties is seen in her Neue Rootz series, which explore her family’s African, Central European and Caribbean connections. Her most recent series, ReKONstruction, in turn, embodies her preoccupation with mythology and the power of memory, to speak about evolution and personal growth. While the work may seem divergent, there is an inner logic that pulls it all together into a complex exploratory narrative about personal history and resolution.

O’Neil Lawrence, Exhibition Curator

Berette Macauley - Lisa (Neue Roots) (2013)

Berette Macauley – Lisa (Neue Roots) (2013)

About Women’s Art

“As a West African and Jamaican artist deeply influenced by these matters via my family’s cultural and vocational background, I see the reflection of ‘women’s issues’ in the arts quite clearly. Historically black women have been pressed to appease the fears, burdens, and shame of others, to supply an endless source of nurturing for everyone’s children, and to be the pastime pleasure of our leaders. In Jamaican art, women are used as subjects to be admired, examined, sexualized, or celebrated as mysterious creatures empowered only with the ability to bear life. Women are almost promiscuously present in the arts, but we have not been agents of this influence.”

“The ways in which this can be addressed scale the spectrum of policy, legislature, advocacy, documentary, and creative fields. While I can see through all these lenses, I am using mythological tales from transcontinental influences to find a common root, a universal idea, a single memory that binds us back together. The forgetful space in which we reside globally that allows abuse and violent neglect of women is ready to be filled by our contemporary creative warriors. This is the
ultimate feminine power – irrespective of nation or realm.”

Berette Macaulay

Berette Macaulay - We Connect at the Root of a Beautiful Catastrophe (2012)

Berette Macaulay – We Connect at the Root of a Beautiful Catastrophe (2012)

Explorations 3: Seven Women Artists – Prudence Lovell

Prudence Lovell - Untitled (Connected III) (2015)

Prudence Lovell – Untitled (Connected III) (2015)

Here is another text panel from the Explorations 3: Seven Women Artists exhibition, which opens tomorrow, May 31:

Bio

Born in Framlingham, England, Prudence Lovell acquired her BFA degree from Kingston on Thames Art College, and then her MFA degree from Manchester Polytechnic, both in England. She lives and works in St Andrew, Jamaica.

About the Work

Prudence Lovell is an artist whose widely ranging concerns coalesce in a number of stunning drawings and collages. To paraphrase her own words, Lovell explores “the history and potential for allusion” found in art as well as the various “truths” found in documentary images. The ambiguities and disjunctions that occur due to the immediacy of photographic and other digital imagery and the seeming reliability of these images, often result in a rupture between perception and reality. Her most recent works, such as Untitled (Connected II) and Untitled (Conversation), are based on Skype conversations with her children, who are studying overseas, and address the moderated reality of online connections, in terms of the ambiguities of the simultaneous experiences and realities of proximity and distance.

O’Neil Lawrence, Exhibition Curator

Prudence Lovell - Pentimenti (1997)

Prudence Lovell – Pentimenti (1997)

About Women’s Art

“Women have always made art but until recently their efforts were rarely as widely seen, recognized and written about as menʼs and were therefore often quite invisible. It wasn’t until the 1970ʼs that this radically changed, and women began to be major players in the art world. Much of the discourse that followed this exposure aimed to discern whether there was an aesthetic that was characteristic of womenʼs art. But in the final instance, I believe that most works of art ─ even those taking the artistʼs gender and sexuality as their theme ─ come from a level of inner truth which generally transcends sexual difference.”

“In Jamaica, despite Edna Manley ushering in modern art, its first practitioners were mainly men but in recent decades this has evened out and I believe few would now claim that it is any disadvantage to be a woman artist in Jamaica except in surmounting the eternal challenge of work, motherhood and family life. That challenge I believe, often contributes to perspectives which differ and diverge from those of men and which sometimes reveal themselves through the adoption of specific content, in formal choices, the use of materials and working practices.”

Prudence Lovell

Prudence Lovell - Praxis (Parturition and Presentiment) (2003)

Prudence Lovell – Praxis (Parturition and Presentiment) (2003)

Explorations 3: Seven Women Artists – Amy Laskin

Amy Laskin - The Vine's Bride (2005)

Amy Laskin – The Vine’s Bride (2005)

Another text panel from the Explorations 3: Seven Women Artists exhibition, which opens on May 31 and runs until August 8:

Bio

Born in 1955 in Philadelphia, USA, Amy Laskin attained her BFA degree in Ceramic Sculpture at Pennsylvania State University in 1977. In 1979, she went on to attain her MFA degree in Painting from The School of the Art Institute of Chicago. Laskin lives and works in St Andrew, Jamaica.

Amy Laskin - Queen of Her Domain with Cereus (2015)

Amy Laskin – Queen of Her Domain with Cereus (2015)

About the Work

The seemingly whimsical compositions of exquisite floral arrangements with distinctly “feminine” touches belie the conceptual depth of the work of Amy Laskin. The paintings themselves could be appreciated for their beauty alone but when one looks deeper one sees in works such as Flora and Coral Collaborate not only a preoccupation with the natural environment but also an implicit warning about the fragility of the beauty that we admire. A traditional painter, inspired also by her surroundings in the mountains of St Andrew, her paintings often have distinctly feminine elements ranging from a simple ribbon in some cases to surreal implied or actual dresses that double as the vessels for the natural arrangements. She has thus subtly inserted herself within the environments that she depicts because the concerns she seeks to share are her own.

O’Neil Lawrence, Exhibition Curator

About Women’s Art

There are experiences, bonds and threads that we all have in common, which gives us insight into the oneness of all things and enables us to empathize with one another. Existing alongside, there remains a uniqueness, sui generis, that is exclusive, rare and particular to any group or individual. Women experience distinctive or aggregate qualities that set them apart from their male counterparts. This may or may not be evident in their art work. Women are marginalized, demeaned worldwide, and Jamaica is no exception. It is therefore very important to elevate, promote, and celebrate art created by women as an attempt to restore balance.”

“I am never consciously aware of making art that is ‘gender specific’ but a body of work has emerged that uses female imagery. It started with a visual curiosity, a comparison of like forms or analogies, presented in an unfamiliar way to challenge the viewers’ sense of real. These images became emblems, symbols and female entities. They are allegorical. The use of certain imagery such as lace, vines, knots, floras, landscapes, bodices, torsos, dresses, are merely the things I like and choose to combine in such a way as to create something phantasmagorical.”

Amy Laskin

Amy Laskin - Flora and Coral Collaborate (2014)

Amy Laskin – Flora and Coral Collaborate (2014)

Explorations 3: Seven Women Artists – Miriam Hinds-Smith

Miriam Hinds-Smith - Thought We Mattered (2015), (Photo: Andrew P. Smith)

Miriam Hinds-Smith – Thought We Mattered (2015), (Photo: Andrew P. Smith)

Here is another post based on the exhibition text panels for Explorations 3: Seven Women Artists, which will be on view from May 31 to August 8, 2015

Bio

Born in Jamaica in 1969, Miriam Smith received her education at the Edna Manley College of Visual and Performing Arts, where she attained a Diploma in Textiles. In 1999 she received her MFA degree from the Winchester School of Art, University of Southampton, UK. She lives and works in St Andrew, Jamaica.

About the Work

The mixed media artwork of Miriam Hinds-Smith highlights her masterful manipulation of fibres and textiles and it is striking that she should be the artist in the exhibition who most expressly questions whether her work should be defined as women’s art. Her work also reflects her experience with bookbinding. Some in the form of actual books, her works are often literal and symbolic pages weaving a personal history that highlights life-changing experiences but is also concerned with poverty and other historical and contemporary social injustices. The multi-panelled work Justice Denied…1600 and still Counting, the totem-like Guardian of Souls, and the haunting Thought we Mattered combine to make her installation Requiem of Souls, as the work on display is collectively titled, a reflective experience that stridently challenges the viewer to acknowledge the effects that these unresolved injustices have on our lives.

O’Neil Lawrence, Exhibition Curator

Miriam Hinds - Becoming a Memory (detail) (2015) (Photo: Andrew Smith)

Miriam Hinds – Becoming a Memory (detail) (2015) (Photo: Andrew Smith)

About Women’s Art

“The discussion of women’s art, or rather art made by women, needs to be viewed within a specific context. It requires an understanding of how women artists view themselves and how the controls and politics of the day engage or exclude female practitioners. Social status and relational proximity to these controls allow for particular voices to be heard, which in most instances are predominantly male; as against those who have been muted, predominantly female. However, if art-making is becoming increasingly borderless and ground-breaking, why would we want to prescribe artists to gendered definitions in the first place?”

“I see myself as an artist, not defined by my gender but by my desire to communicate on problematic societal issues as a nurturer, as a daughter, wife and worker. My own art involves experimentation with textile and thread, and although it is linked to tasks which are traditionally deemed “female,” I do not view it as “women’s work.” Such a categorization would be problematic, as it is near impossible to draw the line between men’s and women’s art within our (Jamaican) context. Within the global space that conversation may well be the converse as there is still strong evidence of this divide.”

Miriam Hinds-Smith

Miriam Smith - Justice Denied (2014)

Miriam Smith – Justice Denied (2014)