Opening Reception

The Living Sculpture exhibition at Revolution Gallery in Kingston featuring Jamaican artists and Diaspora Vibe Gallery artists:

Beverly Anderson Manley, former First Lady of Jamaica

Norma Harrack, Ceramicist, Faculty Edna Manley College with Rosie Gordon-Wallace

works by Ermán

Ricardo Allicock, former Consul-General to the Southern United States

Eglantine Buchanan Gordon and Ronald Horsham

Carol and Diane

Mazola wa Mwashigadi speaks about his installation at the reception

Mazola wa Mwashigadi's outdoor installation

Musician Gordon Myers

Jean Chiang in front of her work

Petrona Morrison and Rodney Jackson

Rosie Gordon-Wallace and Urban Culturalist Jenni Lewin-Turner

Jacquenette Arnette

Ermán

Danny Ramirez, Marie Segree

Lisa Lindo, Garfield Morgan and Shelley Ann McFarlane

Benari Kamau's painting

Marie Segree in front of her installation

Rosie Gordon-Wallace and Wura-Natasha Ogunji

Rosie Gordon-Wallace, Norma Harrack, Ceramicist, Nicole Winter, Ceramicist, David Dunn, Ceramicist and Faculty, Edna Manley College

Hope Brooks, Artist and Vice Principal Academic and Technical Studies, Edna Manley College and Wura-Natasha Ogunji

Gilou Bauer and Rosie Gordon-Wallace

Eglantine Buchanan Gordon presents Edna Manley College student and ceramicist, Nicole Winter with the inaugural 'Eglantine Buchanan Gordon Scholarship for Excellence in the Arts'.
Also pictured, Marlon Hill, Esq.

Rosie Gordon-Wallace, Petrona Morrison, Annie Hamilton

Photographer Indygo Williams

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**Living Sculpture Exhibition Opens Tonight**

Revolution Gallery presents

Living Sculpture, curated by Carol Campbell and Rosie-Gordon Wallace

Friday, April 3, 2009

7-10pm

44 Lady Musgrave Road

Kingston 5, Jamaica WI

Enjoy refreshments, performances and live music.

Featuring Carlos Alejandro, Jacquenette Arnette, Cleve Bowen, Carol Campbell, Keriena Chang Fatt, Margaret Chen, Jean Chiang, Alejandro Contreras, Paula Daley, David Dunn, Ermán, Robert 'Toby' Grant, Miriam Hinds, Jacquelyn Hussey Pearson, Deborah Jack, Rodney Jackson, Benari Kamau, Pat Kentish-Skeete, Michael Layne, Aaron Ledos, Margaret McGhie, Mazola wa Mwashigadi, Gordon Myers, Nishan, Wura-Natasha Ogunji, Danny Ramirez, Patricia Roldan, Garth Sanguinetti, Marie Segree, Alison Sinclair, Margaret Stanley, Omar Tavares, Diana Wright, Donnette Zacca.

Curatorial Statement by Rosie Gordon-Wallace

For thousands of years mankind has been using sculpture as a primary means of artistic expression. In fact, long before the first record of history was written, sculpture was being used by primitive civilizations to document the world in which they lived. Sculpture was often used to represent any number of occurrences in people's lives from the very beginning. Sculpture was used to document the passage of time or environmental changes. Sculpture was also used to represent societal concerns, such as religion, politics, and morality. The African wood sculpture in this exhibit represents an example of this type of artistic expression.

Sculpture was believed to be one of the best representations of human form and as such was viewed as the ultimate artistic creation. Sculpture has long been one of the most popular forms of fine arts. In fact, sculpture was considered an art form long before patrons of the arts saw an inherent beauty in the other forms of art represented in this exhibit. Installation, painting, even drawing constitute a delayed addition to ranks of Caribbean artistic production.

The Venus of Willendorf sculpture found within this exhibit is one example of sculpture of human form. The stone Willendorf fits in the palm of the hand. Note the overall silhouette, the curves and proportions and the stylized hair. The 25,000 year old Willendorf is among the oldest surviving Venus or Goddess depictions known. Some have theorized that the distorted proportions of the Willendorf suggest that it may be a self-portrait from a woman's point of view-- the breasts fill the field of vision looking downwards.

From the Venus de Milo to the Venus of Willendorf, sculpture is still as popular today as ever. Although the look of sculptures has changed dramatically throughout the centuries, it will forever remain one the most popular art forms. Perhaps this art continues to grow in popularity because the nature of sculpture has continued to evolve over time. The subject matter of sculpture has never remained stagnate but has always found a new and varied subject or theme which was previously unused. This ingenuity in the field of sculpture is well represented by the two modern outdoor pieces in this exhibit.

Perhaps the popularity and apparent fascination of sculpture will never be explained. However, it is apparent that the artistic medium of sculpture is unique. Above all, sculpture allows the artist to have an intimate relationship with the work being created. Each time the sculptor uses his hands to create a unique work of art, regardless of the materials or subject matter.

My fascination with “Living Sculpture” began as a child at Hope Botanical Gardens. In those days the living garden sculptures were seen as exotic and not quite as an artistic endeavor. I wanted to share this tradition of “Living Sculpture” with our diasporic international cultural exchange artists many of whom are visiting Jamaica for the first time.

Our theme is " Living Sculpture." Our artists will explore new sites, through specific sculpture, performance and installation that center on the object-hood and medium of the body as living sculpture. Additionally artist will frame sculpture, ceramics, and installation as media to embody memory, time and meaning. Artists explore fragility in the body and sculpture and how public sculpture and art can be participatory, adaptable in relation to the needs and culture of a society. Artists will examine the theme 'Living Sculpture" against the rich artistic background of Jamaican public art, sculpture and performance.

In contemporary art there are many examples of living sculpture. In 2009, when research is done on the term “Living Sculpture” the examples given are extensive and range from the botanical living sculpture to Aimee Mullins, who declared “people say I have no legs, but I have ten pairs of them and my interaction with them allow me to be a living sculpture”. See Aimée’ Sculptural legs, photographer: Webb Chappell. Living Sculpture has the documentation of “Singing Sculpture” and many other atypical definitions.

"For many African cultures, sculptures are regarded as shrines - a celebration of community and nature." "The social value of the sculptures cannot be underestimated, as the artwork evokes many themes, including; cultural exchange, freedom, legacy, identity and citizenship. All of which resonate universally to engage all sectors of the community - whether or not they consciously subscribe to the arts. The existence of the sculptures and their iconic forms in public spaces also promotes a deeper understanding of the role of culture, heritage and creativity in building vibrant, cohesive communities, with improved perceptions of their contribution to society." States Jenni Lewin Turner, Urban Culturalist, living in London.

University of Technology (UTECH)

This unique park is part of the University's efforts to marry technology and art. It boasts nine sculptures, five of which represent each of the University's faculties. This is a good place to gain an introduction to Caribbean art. The sculptors hail from Jamaica, St. Lucia, Barbados, Trinidad and Grenada. Another addition to the park is the UTECH gallery that hosts work by Caribbean sculptors and artists. Gallery hours are 9a-5p M-F.

Jamaica:

Jamaica is a Caribbean island, which spans 234 kilometers (146 mi) in length and 80 kilometers (146 mi) in width. Its capital, Kingston, is located on the southeastern coast of the island. Kingston is the seat of government and business sectors; the cultural mecca of the country and home to interesting museums, galleries, churches, theatres, restaurants and numerous other attractions.

“Living Sculpture”

Welcome to Revolution Gallery where “Living Sculpture” exhibition runs through Monday April 6, 2009.

Jamaica Day Two

Our day began with a visit to the art collection of Wain Iton. We had the pleasure of witnessing a collection of works that spans over fifty years.

by Carl Abrams

a mural in the collection

Patricia Owen

Rosie and Lorna in the Iton collection


Erman in the Iton home

Deborah Jack

Following our visit to the Iton collection, we have an intense discussion about Caribbean visual art archives. What is the currency of art, what is the responsibility of the artist, the nation, the outsider, insider? What is reclaimed, what is lost, found? What is the legacy? Who and how is the archive compiled?

We return to Edna Manley College of the Visual and Performing Arts for more studio visits.

a view of the CAGe (College Art Gallery at Edna Manley College)

Student Lisa Golding dyes fabric which she will later print designs upon.

Lisa Golding shares her fabric samples with Marie Segree.


The Edna Manley Ceramics Studios

Jean Chiang speaks with Edna Manley Ceramic Artist Nicole Winter.

Artist Jean Chiang, Petrona Morrison, Director, Edna Manley College of the Visual and Performing Arts, and Margaret Chen, Artist and Edna Manley Sculpture Faculty

Artist Joelle Salkey in her studio at Edna Manley College.

Joelle makes elegant use of the leaves from the 'Poor Man's Orchid'.

Artist Joelle Salkey

Erman, Deborah Jack, Veerle Poupeye (author of 'Caribbean Art') and Rosie Gordon-Wallace

Poupeye's groundbreaking Caribbean Art

Veerle Poupeye and Rosie Gordon-Wallace

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Jamaica International Cultural Arts Exchange 2009

This year represents Diaspora Vibe Cultural Arts Incubator’s tenth year of International Cultural Exchange. Conceived by Gallery Founder and Director Rosie Gordon-Wallace, the cultural arts exchange is an innovative program that brings together artists, curators, writers and cultural workers to engage in a rigorous program of exchange, exhibition, studio visits and workshop intensives in the Caribbean Diaspora and beyond. The theme of this year’s exchange is ‘Living Sculpture’. Artists have been invited to Jamaica to explore and engage sculpture, performance, installation and site-specific works that consider the significance of the body in both the creation and the content of the art, as well as the importance of public art as a means of engaging community and defining the language of a culture.

Participating artists, writers, curators, and culture-makers represent an incredible range of cultural backgrounds, nationalities, homelands and artistic practices. And the rollcall:

Carlos Alejandro, Artist

Jacquenette Arnette, Artist

Carol Campbell, Director/Curator, Revolution Gallery

Margaret Chen, Faculty, Sculpture, Edna Manley College of the Visual and Performing Arts

Jean Chiang, Artist

Rozi Chung, Faculty, Edna Manley College of the Visual and Performing Arts

Alejandro Contreras, Artist

Israel Delmonte, Faculty, Edna Manley College of the Visual and Performing Arts

Lorna Dunkley, Arts Event Coordinator

Ermán, Artist

Stella Gonzalez, Artist Coordinator

Rosie Gordon-Wallace, Director/Curator, Diaspora Vibe Cultural Arts Incubator

Annie Hamilton, Dean, Edna Manley College of the Visual and Performing Arts

Marlon Hill, Esq, Featured Presenter

Deborah Jack, Artist

Rodney Jackson, Artist

Benari Kamau, Artist

Pat Kendrick, Faculty, Edna Manley College of the Visual and Performing Arts

Aaron Ledos, Artist

Jenni Lewin-Turner, Urban Cultural Scholar

Petrona Morrison, Director, Edna Manley College of the Visual and Performing Arts

Gordon Myers, Musician

Nishan, Artist

Wura-Natasha Ogunji, Artist

Veerle Poupeye, Curator, Art Historian

Danny Ramirez, Artist

Michelle Ramlagan, PhD, Scholar

Patricia Roldan, Artist

Marie Segree, Artist

Omar Tavares, Artist

Roy Wallace, Installation Designer

Indygo Williams, Photographer

Director Rosie Gordon-Wallace has described the exchange as an opportunity ‘to have a conversation with ourselves, about ourselves.’ The ICE program interprets the ‘ourselves’ in the most expansive way, engaging the concept of ‘diaspora’ as a way to understand and dialogue about the deeply creative and innovative ways that we approach artmaking, culture and community engagement.

Photo Gallery and Diasporic Journal: Day One: April 2nd

A moment to savor: the safe arrival of the art

Kingston welcomes us

Otaheite Apples for the seaside ride, courtesy of Lorna Dunkley, Arts Event Coordinator

The beautiful, brilliant Rosie Gordon-Wallace

We arrive at Revolution Gallery.

Revolution Gallery is located in a beautiful great house that has been converted into a gallery. Sculptural works greet visitors as they enter the exhibition space.

Jamaican Breakfast at Revolution Gallery, hosted by Director Carol Campbell

Next, we depart for Edna Manley College of the Visual and Performing Arts, a host site for the International Cultural Exchange. The afternoon is filled with studio visits and classroom dialogues.

Public art graces the architecture, by Stefan Clarke, Sculptor and Edna Manley Graduate

Sculpture by Warren Buckle, Edna Manley College of the Visual and Performing Arts

We were moved and honored to visit the studio of fourth-year student and Sculptor, Warren Buckle. His large-scale hanging metal sculptures suggest the delicacy of the natural world and the enormity of a science fiction film. This work hung gracefully in the space. We are strategizing a way to bring it back to Miami for exhibition. Perhaps the work will fly its way there.

(l to r) Michelle, Rodney, Stefan Clarke, Rosie, Erman, Patricia and Warren Buckle, Sculptor, Edna Manley College of the Visual and Performing Arts

animation still, by Kemar Swaby, Artist, Edna Manley College of the Visual and Performing Arts

We visited with students including artist Kemar Swaby. Swaby animates articles of clothing to create a narrative that explores issues of sex, sexuality and abuses of power. His vignette of a disturbing encounter between two suits and a soccer player’s uniform is a meditation on the violence that is hidden by and between societal lines of class. His eloquent sense of rhythm in this work will surely develop as an integral part of his visual vocabulary in the years to come.

Ebony Disciplez (Rayo) by Ebony G. Patterson

The CAGe (College of Arts Gallery) featured Ebony G. Patterson's mixed media installation entitled 'Gangstas, Disciplez +the Doiley Boyz'. This gorgeous suite of works explores the aesthetics and attitudes of urban dancehall culture, embedded with hyperbolized narratives of male sexuality, both hardcore and skin-bleached. Patterson, a graduate of Edna Manley, pushes boundaries of site, space and gender in her poetic-ly sparkled and saturated and doiley-decorated rooms.

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Join us on Friday, April 3^rd from 7-10pm for the opening reception of ‘Living Sculpture’

Revolution Gallery

44 Lady Musgrave Road

Kingston 5, Jamaica WI

Exhibition Dates: April 2-6, 2009

Enjoy refreshments, performances and live music.

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