Shoshanna Weinberger – Midnight Selfies with One Sunset
My work explores the complexity of heritage, assumed norms and confronts the complexities of cultural ambiguity and peripheral identities. The work is rooted in an exploration of my Caribbean-American heritage, the consequential implications and experiences of racial identity, and external perception of racial categorization. Referencing adolescent memory, body image, and our current xenophobic rhetoric, I render my muses along a spectrum of character types and marginalized bodies. Some are excessive, sexualized, and quirky. Others are passive or dominant, a culmination of figures that ultimately question standards of beauty and identity.
Shoshanna Weinberger – Tropical Tan
The Sunset series is the newest iteration from a body of work entitled Invisible Visibility. The series dives into an autobiographical history, one of an intersectional identity that commonly falls into cultural ambiguity. Both works in Summer Exhibition, “Tropical Tan” and “Midnight Selfies with One Sunset”, explores a personal relationship with invisible blackness, alienation and passing. The gridded “Selfie” installation references the contemporary fascination with instant, reinvented and created personas found on the social media platform. Placing one single sunset is surrounded by drawings that I deliberately cover-up, these “black-out” drawings signify hidden, censored and obscured identities. Displayed to reference specimens these images become a collection of portraits with psychological distance. As a result, the works allude to my personal relationship with otherness and “Double-Consciousness”.
Facebook tag: Shoshanna.Weinberger
While I understand the urge to create images of despair as we career headlong into an uncertain future as climate change takes hold, my aim with this painting is different.
Through careful observation, through the lens of my inherent love of nature I hope to remind us to pay attention to, and truly appreciate the moments of peace and serenity that still exist both within and without.
If given a chance nature can heal itself, and as we are part of nature, the fate of the oceans, the trees, the birds and animals, is also the fate of us humans.
Tina Spiro – The Deep
“The Deep” is dedicated to the sea and our relationship to it. Sadly, we are losing the battle to preserve this essential source of life on our planet, along with all forms of life, and our ability to survive climate change, which is occurring now.
Yet making art is a joyous process, laced with humor and good will. The small female diver encounters the leviathan, who eyes the viewer with mixed feelings. This somber message is delivered in the cloak of beauty…enjoy and take action.
“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 – 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.
Bryan McFarlane – Like the Weather at the Ocean
I have a long and committed interest in the intersection of the practice of art making, art history and contemporary critical discussion. As an artist, I have been fortunate to receive several previous grants that allowed me to travel extensively to Brazil ; Columbia ; West Africa; Turkey ; Japan and China to engage in international discourse regarding art history, art production and criticism. My engagement with the arts is also an intellectual endeavor. At every point, I have sought not simply to create art, but to understand the implications and possibilities for art within art history, criticism and philosophy as an intrinsic part of travel for art production.
China has recently become a very special part of my journey. I believe this time, it is one which will unquestionably define a most important period of my life’s work as an artist/painter. Having initially set up studio residency at the Red Gate Gallery for over two months during the summer of 2007. This activity allowed me the incentive I needed to move ahead on this path on solid grounds. From this juncture, I took the opportunity to create a series of work entitled : “Bicyclical Journeys” in Beijing which grew out of my current “egg series”. In a special way, this experience feels like a familiar one, having grown up with numerous friends during my formative years in Jamaica with large numbers of close extended family members who were Chinese. (Jamaica has a large population of third generation Chinese immigrants who are well established since the turn of the 19th century, of which group has firmly assimilated, contributing to important economic, political and socio-cultural life of Jamaica and the Caribbean.) I have gone ahead through this vision and inspiration to set up studios to work there for the duration, as it’s environment helps to shape a concept that might lead to the creation of new and more fresh and unique work . A launching board for my current work to engage in the greater part of East Asia and the expanded contemporary art scene which China is now a major player as it levels the playing field .
Bryan McFarlane – Rain in Beijing II
It is exciting to see how my works and those of other colleagues from the Caribbean and Jamaica being a part of this heralding and emergence from the 1.3 billion people of China –of talents in contemporary art that may overwhelm the older art centers of Paris, Berlin, London and New York. As the writer of this statement, I feel obliged to reiterate that : We are at the end of an extended period of western cultural and ‘imperial dominance’-a period when both western aggrandizement and Soviet ideological straight jackets have run their course. These long competing systems have imploded, exhausted of new ideas and at times- depleted of originality. The vitality of the ascending order is emerging from the new cultures of the developing world, both in their own nations and in the great cities of the decaying old order. These new cultures are forging the future through their fresh zest for life, and growing discovery of their creative genius. As prevailing critical models fade and new and more dynamic ones appear, scholarship and criticism must embrace truly global artistic production, defined by it’s relationship to new centers of artistic fervor and brilliance. In this setting, Chinese prowess will be a major force in redefining the contemporary art scene. Scholars alike are presently witnessing the transformation of global visual art expression as the continents of Africa , South America ,the Caribbean – Jamaica spew forth waves of new artists towards this journey to East Asia and China.
Judy Ann MacMillan
Judy MacMillan – Nana 2
It is about vision. How the human eye sees, subjectively, not how the camera sees. It is about skill, requiring a great deal of practice to synchronise the eye with the hand held brush, just as playing an instrument or sport requires practice. My intention should be instantly clear to the viewer without additional explanations.It is about communication of one heart to another heart expressed in paint.
Judy MacMillan – Village Adonis