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:
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)
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
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.”