“Double Standard” is my objection to the current status of the global Marijuana/Ganja Industry as it relates to Jamaica. Does Jamaica have its rightful place in this Industry? If not, why not? Is the Jamaican Government to blame? Do other Multi-Lateral considerations have a bearing on the issue?
Richard Nattoo – A Pious Germination
Richard Nattoo first introduced his etchings on glass at the 2014 Jamaica Biennial. It was an innovative and inspiring initiative by the newcomer receiving positive attention and feedback from art lovers and collectors alike. The success of this first showing would prompt Nattoo to develop on this concept, but instead of creating iterations of the same image on each panel as in ‘Birth of an Echo’, he began to experiment by etching different images unto multiple panels that once combined form the complete 3D image.
Nattoo’s artistic process begins by conceptualizing the subject or image that will later be deconstructed from a 2D drawing into a 3D model. He describes this process as “dreaming up what is going to be inside the glass”. Once the subject/drawing is established, Nattoo creates a 3D model then dissects it into a series of 18 slices. Next, the process of engraving each pane of glass using a dremel with a diamond tooth begins. Once complete, each pane is assembled to create the final image; a 3D illusion built from a series of 2D media.
Nattoo goes even further by adding a light source, taking advantage of the transparency of the glass and adding another layer of depth to his pieces. The light that shines through becomes embedded, so to speak, within the etching giving his work the appearance that it was drawn with light.
Heirlooms 2: Cycles of Genocide, is an exploration of problematize masculinities within the Jamaican society and was created to stimulate discourse regarding the self-destructive tendencies of the marginalized Jamaican male. The installation is imbued with physical and metaphorical symbols, which mirror the socio-cultural and socio-ethnic value systems which reject the underprivileged male, as a person of substance. These values and notions – which have been grounded in the trenches of colonialism, actively persist today and are handed down as heirlooms from one generation to the next. These heirlooms therefore, facilitate systemic cycles of self-hate, alienation and self-destructive behaviors, consequently, leading to cycles of futility, repression and death.
The artwork is composed of six pregnant male figures and multiple spherical red fiber forms. The pregnant figures represent a certain irony that society often ignores and are not adept to deal with – the pregnant male. Consequently, the pregnant male narrative becomes a parody, as he is forced to abort his pregnancy; never giving birth to his potential, talents, ambitions and aspirations. The six figures are embellished with toothpicks, which represent a form of unfortified defense system for the marginalized men in our society. The red fiber spheres represent blood, bleeding, talents, potentials, ambitions and life. The figures are hung with nooses around their necks, representative of the socio-economic and class/colour barriers that stymie their potential. The circular formation of the spheres, which are clustered in the center of the installation, represent repetition and continuity of this menacing, pervasive and vicious cycle.
Laura Facey – 62 Men and 63 Women
Representing the enslaved persons who labored on the ‘Mount Plenty’ property in the Parish of St Ann, Jamaica as documented in 1820 at the time of the death of their owner, The Hon. John Hiatt, Custos of St Ann, who died at the age of 98.
Laura Facey – Heart of a Man
William Blake’s drawing of a ‘Black Man Hung By The Ribs’ and a seed from the Barringtonia Tree inspired HEART OF A MAN.
“I found the seed on the seashore and thought – as men journeyed across the Atlantic, shackled on ships, stripped of everything and unable to protect their loved ones – their hearts were ripped from their chests.”
‘May the heart of man be restored to its full potency’
‘My art is the truth of my soul through which I speak’
A meticulous individual, a native of the lush and scenic parish of St Mary, Jamaica. During my formative years of life my passion for art was encouraged by my family and friends. My gram-ma and mother encouraged me to draw and express myself, allowing me to use the interior and exterior of our home as a canvas. I am a graduate of the Edna Manley College of the Visual and Performing Arts. At present I am a facilitator of one’s artistic growth, seeking to encourage one’s development through art. My inspiration comes from my love for the environment; its flora and fauna, social issues, my cultural identity and personal experiences. The urge to experiment with various materials also fosters my innate decision to create /make images.
To speak my truth.
This tapestry is a bereavement of my mother as a sculptural embodiment of shock, denial, pain and guilt, anger, bargaining, depression, reflection and loneliness.
An upward turn, reconstructing and working through the pain of loss, accepting and hope is shown in this complex and beautiful artwork.
The scale is a representation of my maternal parent’s importance, while the soft sculpture itself is one of strength, fragility and vulnerability.