Jamaica Biennial 2017 – Invited Artists: Judith Salmon

The Jamaica Biennial 2017 closed on June 10, after a two week extension, but we continue to build our online archive on the Biennial with features of the artists who were included in the exhibition.

Judith Salmon was born in 1952, in Kingston, Jamaica. She holds a Graduate certificate in Museum Studies from the University of South Florida; an MFA from Johnson State University, Johnson, Vermont; and a BA in Liberal Arts from Norwich University, Vermont, USA. She also attended the Chicago Academy of Fine Arts, USA. She has exhibited widely in Jamaica, the USA, Canada, Cuba and Puerto Rico and is represented in public and private collections, including the collection of the National Gallery of Jamaica. The dynamics of memory and the resonance of materials are at the heart of her work in installation, assemblage and other mixed media. Her work was recently featured in the National Gallery of Jamaica’s Explorations 3: Seven Women Artists (2015) exhibition. She lives in Kingston, Jamaica.

Website: judithsalmon.com

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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)

Coming Up – Explorations 3: Seven Women Artists

The Explorations III: Seven Women Artists exhibition, which will open at the NGJ on Sunday, May 31, asks the question whether any concept of women’s art is relevant in Jamaica today – it is part of our Explorations series, which examines the big themes and issues in Jamaican art, the first of which was Natural Histories (2013) and the second: Religion and Spirituality in Jamaican art.

Seven Women Artists, which is curated by Senior Curator O’Neil Lawrence, features the work of seven mid-career female artists who live in Jamaica or art part of its diaspora and who work in a variety of media: Jasmine Thomas-Girvan, Judith Salmon, Miriam Smith, Prudence Lovell, Kereina Chang-Fatt, Berette Macaulay and Amy Laskin – a small but representative sample of accomplished female Jamaican artists. We invite viewers to explore whether there are any commonalities that set these artists’ work and careers apart from those of their male counterparts and whether there is any justification to label them, individually or collectively, as “women artists,” or their work as “women’s art.” We have also asked each of the artists to produce a statement on the subject that will be reproduced in the catalogue and the exhibition text panels.

Jasmine Thomas-Girvan - None but Ourselves (2015)

Jasmine Thomas-Girvan – None but Ourselves (2015)

The sculptural and sometimes wearable work of jeweller Jasmine Thomas-Girvan explores the complexities of Jamaican and Caribbean histories as well as the cultural implications of those histories.    Her spectacularly surreal assemblages often employ or are inspired by naturally occurring plant matter and oftentimes actively utilise found objects that have a personal resonance with the artist. Her work None but Ourselves references the intellectual legacy of Marcus Garvey highlighting the importance of the transmission of liberating values to the next generation.

Judith Salmon - Pockets of Memory (2012)

Judith Salmon – Pockets of Memory (2012)

The dynamics of memory are at the heart of the installation and assemblage work of Judith Salmon. Salmon who creates work that has, in some instances, involved an element of interactivity for instance Pockets of Memory (which invited viewers to leave notes or other things that had personal significance and made the audience a part of the creative process) explores the way in which memories are preserved obscured or lost over time. She utilises fibre, wax and various printmaking techniques to create work that contains multiple conceptual and also physical layers.

Miriam Smith - Justice Denied (2014)

Miriam Smith – Justice Denied (2014)

Miriam Smith is known for her mixed media artwork prioritised by her manipulation of fibres and textiles. Her work also reflects her experience of bookbinding, some in the form of actual books are often symbolic pages weaving a personal history that highlights life changing experiences but is also at its heart very much concerned with historical and contemporary social injustices. The multi-panelled work Justice Denied…1600 and Still Counting reflects that focus and challenges the viewer to do the same.

Prudence Lovell - Untitled (Connected III) (2015)

Prudence Lovell – Untitled (Connected III) (2015)

Prudence Lovell, an artist who’s 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 seeming reliability of these images and the often result in a rupture between perception and reality. Her most recent work, such as Untitled (Connected II), is 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. Continue reading