Art inhabits the home of artist Clayton Rhule, alive and present within the walls. We begin our “Living Beautifully with Art” series with him, and the home he has made with his wife, Tanya, in Trinidad. The designer couple collects for their love of Caribbean art, as well as to support their fellow local artist community. Clayton Rhule is a born artist himself. In Jamaica, he was raised within a family of painters, designers and ceramicists. Today, Rhule is an accomplished sculptor and furniture designer, owing his talent to the richness of art inherent to Jamaican culture. He and his wife; a Caribbean-born visual artist herself, and their two toddler sons, live among a menagerie of works by Jackie Hinkson, Brianna McCarthy and Paul Kain to name a few.
Clayton, Tanya and children Shiloh and Zayn. Photo Credit: Kelly-Ann Bobb
What was your approach to creating a home filled with Caribbean Art and Design?
We have been living in our home since we got married seven years ago. Before that, I was collecting and building things. I had some pieces that I bought at antique stores and yard sales. I had also made a few pieces, so we had a starting point. Over the next couple of years, we just started collecting things that appealed to our aesthetics, whether art or just objects. Also, we both were creating. My wife is a great painter, she doesn’t share the work, but it's something to behold.
Our home represents our combined taste. It has evolved a little since our kids were born, but we still manage to keep it feeling like us.
We are very interested to dive into your art collection. Can you share some special works with us and tell us about the artists you support?
A lot of people buy fancy shoes and clothes. I buy art. When I am in those situations, It feels impulsive. I see a piece of art, I get a feeling about it, and so I buy it. It’s a problem, but a good one.
We have a small drawing done by Jackie Hinkson. It portrays an old lady with bags on her back. It seems to be pulling her down, but she is resolute. It's one of my favourites because of how honest the pencil strokes are.
There is a large Brianna McCarthy piece that sits along the steps, leading upstairs. Its hand sown, made up of pieces of fabric with different patterns. The fabric combines to create an eclectic collage of sorts. This piece is bold and powerful. I think it's one of the defining pieces from Brianna, and I am happy to have it in our collection.
There is a Paul Kain drawing that is hung on the main wall of our living space. The image is a profile of a man running, with two containers in hand. There is a genuine feel to the subject. The image places you there as an observer. Paul as a way of telling a very detailed narrative with just one frame.
There is a Rodell Warner drawing of a portrait that sits in our boy's room. It's one of the most fascinating flows of line I have ever seen. It feels like a continuous contour, but the sections feel separate somehow. The way he was able to use the line to create depth and texture was the reason I needed to have it.
There is a ten feet long painting we acquired from Ryan Huggins. It depicts a panoramic landscape with different subjects seemingly resting at separate points of the scene. It's very painterly, and the hues are so uniquely his. I was drawn to the proportions and the mood it created.
What advice would you give to Caribbean people looking to start collecting art? What steps can they take to start?
People collect for different reasons. I think it's important to find out why you want to collect. Be as honest as you possibly can, and just start. Start small.
I gravitate to things that arouse my emotions, things that excite me. It's not one type of work or artist. It's what inspires me and what I believe will be good company for my family. Your space is an extension of you and the people who reside in it.
The thing that you surround yourself with is your family, so choose what makes you happy.
You mentioned in our first Zoom call that your favourite painting is by your wife, Tanya. Can you tell us more about this piece and why it is important to you?
My favourite piece is a portrait my wife did. It sits in our bedroom. It depicts a woman, black as the moon, surrounded by a golden glaze. There is a hint of light that defines her eyes. For me, it's a homage to black women and embodies all that they are. And of course, it is reflective of my wife. It’s a feel-good piece.
Tanya is also in the creative industry and is the founder of Designer Island, a leading publication that shares the stories of Caribbean creatives that inspire visions of the future. How has her work inspired you? Do you often team up on projects?
My wife is sensitive to design. Sensitive to its portrayal. She is always trying to create work that stands the test of time. Within this approach, she takes her time. She massages the idea until its true self is revealed. That approach to the work is something that I admire a lot and understand the need for it. I would say that has been the thing, to trust the process and let things simmer. Our home is our never-ending collaboration. As things change we evaluate, plan and execute.
We also collaborate on visuals for Designer Island, and there is more to come in the future.
How do your children interact with art at home and in the local community? How do you see art and design impacting them?
Curiosity is such an important trait for any human being. We wanted to make sure that we expose our kids to objects that would stimulate their interest, whether it be toys, books or art.
I love how our boys find use of things in our home, how everything becomes a part of them learning about themselves. They are always pointing at objects that they can’t reach, and they get a sparkle in their eyes. It is magical.
LES ÎLES Remarks
Clayton draws a distinct connection between Art and Home, revealing that they are brought together by passion, love and family at the core. As a creator, Clayton lays emphasis on staying true to one’s self. As a collector, Clayton's ethos also lies in honesty, advising new collectors to listen to their emotions when they select works. “The thing that you surround yourself with is your family,” he tells us, “so choose what makes you happy.”
We thoroughly enjoyed exploring and sharing the collection of Clayton and Tanya Rhule, a shining example of living beautifully with art.
Written by Stephanie Ramlogan and Anjeni Ramtahal
]]>We are honored to have the opportunity to spend time with Kwame S. Brathwaite, son of acclaimed photographer, Kwame Brathwaite, and Director of the Kwame Brathwaite Archive. Kwame S. is invested in building upon the revolutionary foundation that his family has laid, his path ablaze with high profile collectors including Rihanna, Jesse Williams, Gabrielle Union, Alicia Keys and husband Swizz Beatz already paying close attention.
Known for his significant role in documenting Black art, fashion and political movements between the 50's and 70's, his father’s photographs were largely responsible for popularising the phrase "Black is Beautiful". His father and uncle formed the African Jazz-Art Society & Studios (AJASS) in 1956 and Grandassa Models in 1962, in which his aunt, Nomsa Brath and mother, Sikolo, later played significant roles. These organisations established the movement as we know it today. Their groundbreaking show “Naturally 62” shifted the conversation of beauty and blackness in America forever. The fashion show featured Black women showing off their afros and dark skin proudly, in intentional defiant contrast with the mainstream euro-centric image of beauty of that time. Kwame Brathwaite’s visual documentation of these events was pivotal to the way Black culture was presented. In 2019, Kwame S. collaborated with Aperture Foundation and initiated a travelling exhibition to accompany his published book, named after the groundbreaking mantra and ideology “Black is Beautiful” in honor of the movement, its history and legacy.
We were intrigued to learn about Kwame S.'s upbringing in such a prominent household, which he describes as one “filled with love and respect for self” against a backdrop of reggae and jazz and the best coco bread he could remember. His grandparents emigrated from Barbados after all and we were keen to know of the Caribbean influences that shaped the family trajectory. We also discuss his own personal inspirations and advice for Black and Caribbean artists looking to make a global impact. Keep reading to hear more about the virtue of this important family, throughout the decades, and what more is to come in the future.
Your father, Kwame Brathwaite, and his brothers have had such an indelible impression on American culture. How was it growing up in your home, with respect to identity and blackness? How were your parents’ ideologies observed?
First, I want to say thank you for the opportunity to speak with LES ÎLES . It’s always a pleasure to be able to speak about my family and the work that continues to this day. We were brought up in a household filled with love and respect for self. "Black is Beautiful" was the theme to my father’s work and it was reflected in my household, but also in the household of Elombe Brath, my father’s oldest brother and John Brathwaite, his younger brother. We would often get together during this time to celebrate each other and the ancestors and our connection to the continent. There was a unique balance between spirituality, where my mother led the charge and our cultural connections to our Bajan roots and African Ancestry where my father led the way.
Was there a defining moment or memory for you, that has really influenced who you are?
For me, it was when I was 16 and worked as my father’s assistant that summer. We had spent time when I was younger playing chess for the most part, but he was always working. This was the first time that I was able to be with him learning his craft. We would go to various events, I would load cameras and occasionally make photos, but the time I loved most was spent in the darkroom. His process in developing his film and printing the images from the enlarger was incredible to watch. The technical mastery, his attention to detail, his desire to show the truth in each moment and his love for his craft were evident. I think it’s where I got to know him, not as my father, but as the artist. As I work on the project now, I am gaining a greater insight into the man, politically, emotionally and spiritually.
One of our favorite images is the iconic photograph of your mother, Sikolo Brathwaite, wearing a headpiece designed by Carolee Prince (pictured above). Can you tell us a little about your mother? We are sure she played a significant role in the Black is Beautiful movement, and would love to learn more.
I love that image. I love what it represents and conveys to the viewer. She is regal, intelligent, outspoken, a believer in what is right and a nurturer. She continues to challenge us to be our best in everything we do. She joined the Grandassa Models a few years after they had started. The first group of women on January 28, 1962, when the first show in Harlem took place, were Clara Lewis Buggs, Beatrice Cramston, Helene White (my aunt Nomsa Brath), Marie Toussaint, Wanda Simms, Priscilla Bardonelle, Black Rose and Esther Davenport. She, like the rest of the models before and after her, represented something incredible. A love of self by our standards, in a time when everything you saw, tried to tell you otherwise. All of these women were inspiring and are the foundation of the Natural Hair movement and embody Black Girl Magic. It was important that I made sure she was represented in telling his story because their relationship is a critical factor in his success. She is his lifelong love and muse.
As you know, we are a Caribbean community here at LES ÎLES, so we are eager to know how your Caribbean ancestry played a role in yours and your father’s ideology and work. Can you share with us, what Caribbean culture/teachings contributed to the family's creativity and motivations for creating societal impact?
Our roots were part of our everyday life, but the parts that dawned on me later was my father’s love of music. The interesting part is that although he started his career in photography photographing the Jazz concerts that AJASS put on, Reggae was the prevailing music in my house. Every morning I would be awakened by the voice of Robert Nesta Marley “Get up, Stand up”. My grandparents, Cecil Brathwaite and Margaret Maloney Brathwaite, both Bajan, were an entrepreneur (he owned two dry cleaners and tailor shops in Harlem) and a homemaker, respectively. Hardworking, intelligent and proud immigrants who worked hard to teach my uncles and father the value of hard work. I can still taste her cocobread from my childhood and have yet to find one as good. They inspired their children and my generation of Brathwaite’s and Brath’s were inspired creatives from visual artists, comedians and rappers, to scientists, educators and budget analysts. The influences of our parents and grandparents are rooted in the connection back to Barbados and to the diaspora.
The New York Times called your father's photography "the visual counterpart to Black Power". In the current BLM conversations, how would you describe the role that video and photography plays?
I have said that the reason that this movement is resonating so deeply is that we have the means to capture what is happening and to document the unfiltered, unaltered truth. Often in real time, from multiple sources. I believe this is why we see protests globally related to systemic racism, we have the technology to capture it and share it. It’s a means of connecting us and uniting us in a shared goal for equity and equality. It is a tool of resistance. My father was referred to as “The Keeper of the Images” partly because he was one of a few primary sources of information related to the diaspora prior to the information age. While my uncle Elombe was educating people about what was going on in the diaspora, my father was there photographing it all. Video and photography are critical in documenting our shared human experience and impacting change.
How do you feel your father’s work has contributed to the conversations in the current BLM movement?
The Black is Beautiful movement is the foundation of the Black Arts Movement and the precursor to the Black Power and now the BLM movement from my perspective. The visual influences that my father and others have had, like Gordon Parks, Ming Smith, Roy DeCarava and Dawoud Bey have all contributed to this conversation. His work, in particular, was both a love note to people of the African Diaspora and a call to action. Driven by his political ideals that were birthed from the teachings of thought leaders like Marcus Garvey, the ANPM and Carlos Cooks, he sought to change the narrative around how we embrace and love who we are naturally. AJASS and the Grandassa Models sought to make people truly believe that Black is Beautiful, just as the Black Lives Matter movement seeks to make people truly believe that reality. The way in which creatives/influencers, community activists, teachers, politicians and people from all walks of life embraced the BIB movement then is the way in which the BLM movement is being embraced now. The major difference is that the speed at which information travels is creating a global movement that is poised to make real change.
Tell us about the "Black is Beautiful" tribute in 2019. What inspired you to do it when you did?
The book was really the first of many projects that we thought would be a great way for people to experience his work outside of the fine art world. This is a global movement, but the story originates in Harlem with a group of creatives, led by my uncle Elombe Brath and my father that decided that they would challenge the status quo and inspire African people globally to be proud of themselves. My uncle and father, along with talented artists Chris Hall, Frank Adu, Bob Gumbs and Ernest Baxter began something that turned into a movement. After working to begin the archival process with Philip Martin of Philip Martin Gallery in 2014, he introduced us to Aperture Foundation. They quickly recognised his mastery of his craft and through a series of conversations and photo reviews decided to feature his work in an article in Aperture magazine, honoring him along with Inez & Vinoodh and Zachary Drucker at their Gala. Their decision to partner with us to release his monograph was one of the goals I had set out to achieve when we began this process. The icing on the cake was having collaborated with Dr. Deb Willis and Professor Tanisha C. Ford on the monograph, both incredible writers and whose contributions established the historical and current importance of the work and the movement. Once we were deep into the book review, they suggested that we add a touring exhibition which began in 2019 in conjunction with the book launch. That project that we began in 2017, is still traveling today and will be at The Blanton in Austin, Reynolda House, New York Historical Society and The Kennedy Center among others. It was an opportunity to introduce people to AJASS, the Grandassa Models and the beauty of his early work.
What other work have you done or continue to do, to preserve your father's legacy?
I am working on a number of projects that have really brought more people to be inspired by his work from lectures, to authoring essays in art books and licensing opportunities. A couple of projects of note was having a piece on Grey’s Anatomy in Jesse Williams’ character’s loft and most recently in the Docu-Series “By Whatever Means Necessary” with Decoder Media as a companion to Forrest Whittaker and Swizz Beatz’ series “Godfather of Harlem”. Another was working with fellow Bajan Rihanna in honoring the work as part of her Fenty launch in 2019. It was the connection to the island where both our families are rooted and the unapologetic and female focused nature of both her and his work that led her and the LVMH team to us. That pioneering spirit brought them together and rings true to the island as well. That focus on supporting Black creatives and to “buy black” still resonates almost two years later.
Contemporary mainstream beauty standards are encompassing more diversity than before. What action has happened, or do you still hope to happen, to convince you that real progress is being made?
The standards that the Black is Beautiful movement started are certainly being embraced. More than ever, we are seeing more women embrace their natural hair. People like Rihanna started her own makeup, clothing and lingerie line. We have hair care products made by us for us and we are realising the power of our dollars. Buying Black is back in people’s minds and we are waking up. It’s incredible, but as the saying goes “A luta continua, Victoria es certa” which means “The struggle continues, Victory is certain”. It’s a process and we still have to fight to have representation not only in the beauty industry, but in all industries. The world that we inhabit must be equitable. There is quite a bit of work to do and we must find ways to tear things down and rebuild them properly.
What do you identify as the greatest triumphs of the Black Arts movement?
The Black is Beautiful Movement was the beginning of the Black Arts movement in the 50s and 60s and fuelled the Black Power movement of the 70s. It changed the psyche of many so that we stopped measuring ourselves by other people’s standards. It allowed us to embrace our ancestry and empowered us to start believing in the beauty, intelligence, power and worth that is inherently in us. When you think of the ways in which Black culture is the heartbeat of modern culture, which is undeniable, there is no way that one can deny the power of Black Art. Acceptance is one of the most important gifts you can give yourself.
What advice do you have for Black and Caribbean artists who are looking to make an impact globally with their art? How can we lift each other up and make room for more voices to be expressed?
We have to support each other the way that we support major brands. There is such a focus on art from the diaspora and we must be careful not to forget our sisters and brothers in the Caribbean. There is deep and rich history on those islands and those stories must be told, shared, listened to. I am encouraged by storytellers like Ubikwist Magazine, artists/activists like Killer Mike, Jesse Williams and Senator Andrew Young in creating Greenwood Bank and young entrepreneurs like Blakely Thornton of Civil Jewelry, both who give back to Black and brown businesses. When we can buy black, we should go out of our way to support each other. This project has been organic in that I try to communicate with the people that embrace the work and try to make a real connection. However, no one achieves success on their own, it is imperative that you create and support your village. This is a community and we must continue to act as such.
What is next for you?
I’m currently working on a re-release of the "Black is Beautiful" Poster from 1970 in collaboration with the Studio Museum in Harlem to celebrate the 50th Anniversary of its release. I thought this was important for a number of reasons to work with the Studio Museum and after doing a talk moderated by Ms. Thelma Golden along with artist Arcnomoro Niles and hosted by Arthur Lewis and the UTA team, I approached her about doing something that represented the amazing history of both the work and the museum in representing Harlem. 125th Street is perhaps one of the most iconic streets in African American history with places like the Apollo Theater and Harlem State Office Building, but for us as well. The AJASS studio was just steps from the Apollo Theater and this is one of the places where various street speakers used to educate the community. It’s also now where a lasting tribute to my uncle Elombe exists. At the southwest corner of 125th & Adam Clayton Powell Jr. Blvd is Elombe Brath Way. I am also working with a group of creatives to produce a multimedia experience with music and the imagery, the first was “We Will Breathe” which was inspired by my father’s photographs, but also a charge to change the narrative around the the lives lost to terrorism against Black and brown people both sanctioned and unsanctioned. The other major project that I am working on, that I can speak of is establishing The Kwame Brathwaite Archive which will be the Foundation dedicated to the preservation of the archive, educational outreach and creating opportunities for supporting the next generation of artists/activists.
It is exciting, to say the very least, to see the seeds of the Black Arts movements continue to flourish. With revivals like the “Black is Beautiful” book and tour, and the incorporation of Kwame Brathwaite's imagery in Rihanna’s Fenty campaign, the legacy of the movement is very much alive today. His passionate ideology conduced to the Black Girl Magic we celebrate now, and the proclamation that Black Lives Matter. Just as photography played a critical role in highlighting the reach of the Black Lives Matter movement today, so was his family's work back in the 60s and 70s and well into the early 2000s. This type of immutable coverage, creating an opportunity for people to both authentically witness, and give constant intimate testimony that will forever be etched in history.
We are grateful to the Brathwaite family for their relentless dedication to Black Culture representation, having shattered stereotypes and established new standards for almost seven decades. Their activism to “Buy Black” has forged pathways for all diverse peoples, especially artists, to find their footing within the US. Through this inspiration, and continuous collaboration, we see boundless potential for the future of Black and Caribbean success throughout America, and the rest of the world.
We are truly excited to witness the work that Kwame S. is doing to continue the Brathwaite family legacy. He innovates for a new generation, to ensure a past is honored. That the underlying principles of intellect, pride and community, continue to inspire societal change.
The preservation of his family's legacy goes beyond the family's name and accomplishments. When he says "no one achieves success on their own, it is imperative that you create and support your village", he is true to his word, in lending his time, support, advice to new, smaller initiatives such as LES ÎLES and including the success of the Caribbean community within his sphere of influence. To this we are appreciative of the man who, like his parents and uncles, will undoubtedly impact this and future generations.
Written by Stephanie Ramlogan and Anjeni Ramtahal
]]>"As an artist, you are political, you are disrupting the status quo, you are reinventing the wheel, and that's the beauty of it." - Morel Doucet
Morel Doucet is an Emmy nominated visual artist and writer, known well for his ceramics and illustration. He can create laden layers of collage-like compositions in a single medium. He piles on corals and florals and earthy elements, that speak deeply of his dedication to preserving the natural environment and human history.
The messages behind his works gradually confront us with imposing truths. Morel brings attention to the most pressing issues facing his generation and future generations, such as climate change, colorism, and the encroachment of Black spaces and Black bodies. He draws fuel from within his own Miami community to create impactful change. Beyond his personal artistry, Morel takes on the role of providing a service to the world. He is a leader in many facets. Not only does he translate these social causes gracefully through his works, he educates local youth, and uplifts fellow artists through his own art collection, the Doucet Collection. We are honoured to have the opportunity to interview Morel Doucet; a true inspiration with the potential to significantly influence the colour of modern art in America. Let's get started!
Community and Influence
You were born in Haiti and moved to the U.S. when you were 3 years old. Can you speak about your relationship with the Caribbean, and how your heritage shows up in your values and works?
My relationship with the Caribbean comes from a place of nostalgia and broken fragmented memories of green mountains and crystal blue waters. My parents fled Haiti in the early ’90s under duress and political trauma, leaving behind siblings, friends, and colleagues from their professions. Like them, I’ve had to learn to assimilate into American culture. Learning to let go of past traditions in order to make room for survival. My values are an accumulation of deep African spiritual hums, Christian indoctrinated principles and a rebuttal of old norms that no longer serves me.
Your work covers a range of pressing topics including Climate Change, a topic that has an impending impact on the Miami Community. How has your work been acknowledged in the community and the broader US?
While my work has received extensive press coverage from various magazines and publications, it often marginalized or excludes black and brown communities that are centered on my work and artistic practice. This erasure and marginalization come in the form of generalizing communities of color struggles in the same light with that of white affluent demographic.
Your work also centres on the vulnerability of the Black Community - spaces and bodies. You discuss the fragility of being a Black male in the US in previous interviews. What are your views on the current situation in the US, with respect to the Black Lives Matter movement and how do you see art in general, or your own work, disrupting this reality in the US that the world is currently witnessing?
America loves to celebrate and borrow from Black culture but doesn’t love to honor and respect black lives. The movement that is going on in America and throughout the rest of the world is a battle cry from 400+ years of abuse, anger, and pain. As an artist of the diaspora and living in the US, our greatest weapon is to illustrate and capture the energy of these trying times in our chosen mediums. Being an artist is an act of liberation; going against the status quo and expected cultural norms of that society.
You have also taken on an educator role at the Curriculum and Tour Coordinator at the Institute of Contemporary Art, Miami (ICA MIAMI), and previously at the Perez Art Museum Miami (PAMM) and as well an undergraduate teaching assistant at the Maryland Institute College of Art (MICA). Can you tell us more about why you enjoy the role of an educator and what is your vision for guiding and coaching the youth?
I come from a family of oral historians, educators, and medical practitioners. Teaching and understanding the world around me is important for me. Teaching is a tool of imagination; it allows you to escape the realities of despair and uncertainty. Through education, you're ensuring a lasting legacy of traditions and culture from one generation onto the next.
On Building Your Own Practice
Ceramics, although one of the oldest mediums, is not largely represented in Contemporary art. What drew you to this medium?
I was exposed to ceramics at a very young age through my elementary school art teacher. During my college years, I came to the realization that clay as a medium holds a unique interlace position in our human history and culture. Archeologists can understand the vast majority of human history based on the ceramic pieces that are left behind across the globe. While the medium is not represented readily in popular contemporary art, ceramics transcend time, place, and culture. It’s been here since the planet’s formation, and it will continue to live in the cosmos once we no longer walk the earth.
What has been the greatest challenge with respect to building your practice and getting recognition for it? How did you overcome them?
With building my practice and receiving recognition for it, one of the most significant obstacles have been understanding people's intention and placement in my artistic journey. Everyone wants access to you as an artist, so with time, you dance a delicate balance of protecting your energy and sharing pieces of yourself.
What are you most proud of?
To date, I am most proud of completing my first anthology essay about the changing landscape of Miami. My literacy piece “Secrets that wind carries away” will debut as part of ArtChangeUS REFRAME book project. While Creative Writing is my academic minor, I’ve mostly written for the comfort of my eyes and personal diary because I’m a self-conscious writer.
The Doucet Collection
Can you tell us about the Doucet Collection? What triggered you to start this collection?
The Doucet Collection was inspired by artist Dominic Chambers’s own personal Instagram collection page. More often, when works are acquired into a collector’s home, it never is seen again in the public eye unless you visit a collector’s home. So with the Doucet Collection page, I wanted a way to celebrate the idea of artists collecting each other's work and bringing visibility to marginalized or under-represented artists of the diaspora or latinx community.
What characteristics do you look for in your collection? Do you have a strategy for collecting?
As an emerging collector, I look for work that reflects an aspect of my personal identity, cultural experience, or interactions with that artist in the form of a studio visit, lectures, and energetic, artistic journey in the world. Many rising stars characterize my growing collection in the art world; artists like Mark Fleuridor, Shenequa Brooks, and Prinston Nnanna are artists to keep an eye out for in the coming years.
We were pleased that you acquired two spectacular works from Akilah Watts from Barbados. Can you tell us more about the connection you felt with the artist and her work?
Akilah Watts' work grounds me in nostalgia. It brings me back to seeing women braiding one another hair, gossiping, and talking about womanhood. It makes me think how women in the Caribbean are the fabric of society; they bring order, compassion, and understanding.
What are your goals for the Doucet Collection?
My goal for the Doucet Collection is to create an online platform to bring visibility to African diaspora and latinx descended artists. As my artistic career continues to grow, I hope that these artists will gain more recognition for their work and contribution to the art world’s canon.
What advice would you give to New Collectors, particularly those of the Caribbean diaspora?
Collect what is familiar and dear to your heart. As a collector, you're investing in an artist’s career. Get to know the artist, understand the foundation of their work. If you choose to resell an artist's work on the secondary market, think about investing back a percent of that proceeds into the artist's pocket and career.
Outlook and Future
What's next for you? Having already a progressive stance in the art world, what do you see for yourself in the future?
I consider myself to be a lifelong learner. Like time, I see my artistic practice evolving with each phase of my personal development. Forthcoming, I would like to take a deep dive into video and filmmaking plus writing critical essays and novels.
Our platform contains a network of young, emerging talent from the Caribbean. What advice would you give them for building out their practice and making a difference in the world?
My advice to young and emerging artists stepping into the art world is to pace themselves. Think about your artistic longevity, and don’t chase instant fame. Don’t rush for gallery representation; every exhibition opportunity is not necessarily a good one. Do not create work to be part of trends; be authentic in your voice and practice.
Remarks from LES ÎLES:
There is a raw sensitivity in Morel’s art that traverses the fields of sculpture, drawings and poetry. His work with ceramics is more about the historical connection that the artform has with human evolution, than it is about beauty alone. But it still is profoundly beautiful. He successfully blends the pretty and the grotesque, carving out provocative subjects in every piece. But what has really drawn us even more closely to Doucet's work, is his commitment to community. He is passionate about education. Confessing to being an eternal learner, he uplifts fellow creators and emerging artists by collecting their works with intention. Art to him is a liberation, he says, as it gives a sense of rebellion against the status quo, particularly for Black and Brown people who continue to endure the angst of centuries. His point of view resonates strongly with us at LES ÎLES, that he insists on creating a space and a pedestal for diasporic artists. It is not only exciting to have found this kindred spirit, but that we have found it in such an exceptional creator.
]]>Suchitra Mattai, image courtesy of the artist
1) “Life-line” 2) “Shelter (girl with doll)” and 3) “We are Rainbows, We are Shadows” source: Instagram @suchitramattaiart
I am so excited to learn this. I was intrigued by your platform and wanted to participate in a dialogue where I felt it would resonate. I was curious to see what other Caribbean artists were making and thinking about and wanted to begin new conversations. I wanted to connect to a community that was, for me, both familiar and distant.
I grew up with my nuclear and extended Guyanese family as the core. In Nova Scotia, we found a Caribbean community but it wasn’t until we landed in New Jersey that I reconnected with many of my cousins and other family. So many Caribbean and Indian people live in NYC and NJ. I wanted to bring all of the stories, experiences, and diversity of the Caribbean into my work. I think that art is most effective when it comes from the personal but reflects on the universal. In a way, telling these stories of my past makes them more tangible and therefore makes me more connected to my original birthplace (Georgetown, Guyana). I am also interested in reimagining colonial histories and including the voices of the slaves and laborers who were omitted in those narratives. So my allusions to Guyana are personal, but are anchored in an overarching project to shed light on the trials and joys of my Caribbean and Indian ancestors.
In my early twenties I wanted so much to find my “home.” I looked to India and even went to graduate school to study South Asian art. I travelled to India many times. On my first trip, I wept as the plane landed, feeling with all of my heart that I had found the “home” I had been searching for. India was magical, mysterious and slightly tragic for me. I didn’t find the home I was seeking, for I was too “westernized” and foreign to fit in. I also lacked the language skills to communicate in the way that I wanted to. That being said, it was the amazing journey that was important and I would recommend a trip to whatever “Motherland” beckons you.
I grew up sewing, crocheting, etc. One of my grandmothers was a professional seamstress and my other grandmother sewed her own clothes. I always wanted to bring these practices into my own work. Bringing the domestic into my work helps me to connect back to the powerful women in my life. The weaving of the saris allows me to connect women from all over the South Asian diaspora. The found objects inspire me and allow for a call and response approach to art-making. Not only am I recycling, but I am communicating with the original makers of the objects.
When I was young, I wanted to be an artist but had no mentors or figures from my community who were artists. I initially studied statistics to please my parents but I never worked as a statistician. My path to being a professional artist was a long and windy one. Finally, while I was in a PhD program for South Asian art history at UPenn, I jumped ship and applied to MFA programs. After so many years I am now making art in full force, making up for all of the lost time and trying to see all of the ideas that I’ve been storing come into fruition.
I have a variety of collectors and they range from local collectors who have supported my work and practice for years in Denver where I live, to people all over the US and the world who I don’t know. I feel that in our current climate (one marked by crisis) in the USA, some people are open and willing to listen to stories of immigrants in a way that they weren’t before. In addition, many of my collectors tell me that my work feels intimate and personal to them and it makes me happy to think that after all of these years the small Guyanese girl inside of me is able to share her stories and some people are willing to look.
Lauren Haynes and the other curators at Crystal Bridges and The Momentary travelled the US seeking out artists for “State of the Art 2020.” I was so honored to be a part of it. I never imagined that they would collect my 45’ x 15’ sari installation but it was an amazing moment. It means a lot to me that a museum dedicated to American art found a place for a huge sari installation by an Indo-Caribbean American artist.
I have a wonderful family. My husband, mother and sisters have encouraged me for years. My father has come around to loving art. I couldn’t have accomplished anything without them. I have also worked with many wonderful (women) curators who have given me amazing opportunities like Lauren Haynes, Prof. Grace Aneiza Ali at NYU and Claire Tancons, who invited me to be in the Sharjah Biennial. I am also stubborn and never stopped fighting to be the artist I wanted to be.
I have a beautiful new studio that is subsidized by an amazing arts organization in Denver called RedLine Art Center. I can now make more of the large-scale work that I have been dreaming of. I have some exhibitions lined up but I am waiting to see what Covid 19 will permit. As I wait, I continue to make art and mostly shelter in place with my husband and two sons.
The art world is relentless so you have to build a practice that is too. You have to be true to yourself and make the work that you want to see in art spaces and Museums. And don’t be afraid to reach out to people who you think might be interested in your work. There’s always someone out there who wants to give you a chance.
There is a likely paradox in Suchitra's work. Despite creating in such an acutely personal way, she is also speaking for so many of us and our ancestors. Suchitra gives voice to centuries of migrants across the diasporas, relating to the first people who bore the transitions, and everyone who has voyaged since. Her success can be attributed to her dedication and focus on this theme of displaced identity, and her own emotional journey travelled. Assimilating into life in both Eastern and Western surroundings, seeking out that connection with her Guyanese and Indian origins, resulting in a blurring of belonging that so many of us from the Caribbean diaspora understand first hand.
Suchitra humbly acknowledges her family, and the people and organizations that have played a part in allowing her artwork to be seen and heard. Her advice to emerging artists is resounding; to persist, and be true to yourself. And that is precisely what draws us to this remarkable visionary; how much of herself, and as a result, ourselves, we see in her art.
To view a selection of Suchitra's works on LES ÎLES: https://www.lesiles.com/collections/suchitra-mattai
"Le Cri", Elladj Lincy Deloumeaux, Mixed Media.
(Limited Edition Available on lesiles.com)
Elladj Lincy Deloumeaux, a student at the distinguished L’Ecole nationale supérieure des Beaux-arts de Paris is at the budding stages of his career and legacy. His depth of thought and his physical composure depict an artist with decades of experience and development. His talent and vision are exceptional.
Elladj Lincy Deloumeaux Portrait, provided by the artist
Culture and Influences
Elladj draws on spirituality and symbolism within Afro-Caribbean heritage and daily life, to establish a profound understanding of his own history and culture beyond Western civilization. His work is intimate in this way, observing and documenting the ethnology of ancient role models, to construct a foundation for his expression.
“I speak from a very personal place. It was important for me to have a very strong foundation to build my practice on, and that meant knowing my history. And not just about slavery, but going back to my origins. Knowing classical African history, African and Afro-Caribbean spiritualities and ancient Egyptian history. In this history I was looking for role models.”
“[In terms of Artists] I really like William Foresythe. He does more installation work. I really like installation pieces to be able to interrogate. Kerry James Marshall is another.
From the Caribbean, musicians, performers and writers like Aime Cesaire from Martinique.”
I’m not sure what we expected of the artist. The high intensity of the work that motivated the visit, perhaps had us all expect Elladj to be a certain way. Maybe we anticipated a distinctly bold character in the creator himself, since he understood, and so astutely translated such energy through a controlled paint palette. And in person, he lives up to this unmistaken power. But Elladj Lincy Deloumeaux, as we have come to know, is also a deeply sensitive, soft spoken, warm gentleman. A family man. Born in 1995 on the island of Guadeloupe, Elladj left his home island at the age of 8 for Paris, with his mother, father and siblings. His family makes many appearances in his work. The image of his mother is used to portray a spiritual figure in one piece. “The Little Prince” in another, is his nephew. His siblings and friends are also featured in much of his photography. Below is one of our favourite of his works, "Symbiose" featuring his younger brother and sister in a peaceful rest under the soft, grey fabric, symbolizing a Mother's curvature of the hips and safe embrace.
“Symbiose”, Photograph, Source: Instagram @elladjlincy
The piece titled “Structure'' also caught our attention, for its brilliant yet playful composition of his friends on a nearby construction site.
“Structure”, Elladj Lincy Deloumeaux, Photograph (Available on lesiles.com)
After a personal tour of the campus, the artist welcomes us into his studio space to sit among huge canvases, of his works in varying stages of completion. With the aid of a translator, and someone to hold a phone up for recording, Elladj shares in a vibrant conversation about the artist’s idealities and practice.
At Elladj’s studio space at Les Beaux-Arts de Paris, Source: LES ÎLES
Les Beaux-Arts de Paris Courtyard, Source: LES ÎLES
On Black Art and “Le Cri”
“Often people tell me that I only make black art because I represent people with black skin. But it is much deeper than that. It’s about emotions and history. I find it a shame when people stop just at the colour of skin and they don’t try to understand what I’m trying to communicate.
The scream that I’m representing [in “Le Cri”] is a cry that comes from the interior of the body. I’m trying to exteriorise through this image all of the history and emotions. The scream wants to break down walls and borders. Even more than the colour of a subject’s skin, I wanted to express this action of shouting that everyone can identify with.”
Ideas and Development
“With my own body, I’m very tall and very flexible, and I have hands like spiders! I’ve always tried to push the limits of my body to see what I could do with it through my artistic vision.
I have a project where I’m very interested in imitating the environment. Interacting with and interrogating the environment with my body. To me it’s like making a collage.”
“Connexion", Source: Instagram @elladjlincy
The future
“I haven’t really thought about it. I live from day to day. I would like to continue with my painting.
I like touching on everything but eventually I’d like to do Artistic direction. I like working in groups. I like working with people who come from different backgrounds and who touch at other cultures. It would be interesting to do projects in common with those people.”
Why Collectors should keep a close eye on Elladj
Elladj brings a mix of sensitivity, truth and homage to Modern Caribbean Culture, that crosses history, generations and geographies. His point of view transcends the scope of colonialism and post-colonialism in a regional sense, as he accesses centuries old stories and biographies of African civilizations on the Continent, as well as the subsequent eras within the Antilles. As a student, in the beginning of his artistic journey, his voice cannot be ignored. He approaches each work with meticulous observation and intricateness, aiming to reveal in each character, a revelation of what is in their soul and the souls of their forefathers. The emotional communication he translates in this mission, exacts a visceral response. Collectors of his work benefit from having living, breathing art on their walls no matter what medium he chooses. We are very honoured that he has trusted our platform to share some of his select works with the world. Eagerly we anticipate the evolution and expansion of this stunning artist, who we expect to adore for decades to come.
When you hear the world famous calypso “Feeling Hot Hot Hot”, instantly you identify with the Caribbean; its white sandy beaches, rum punch, swaying of hips, and an inevitable limbo. Lesser known, though equally engaging and far more complex, are the Caribbean people themselves and their art. We’re not talking about tourist art, but art rooted in a multi-dimensional history, and future perspective, that is shaping modern Caribbean society and its place in the universe.
If we look to the past, to Haitian-Puerto Rican Basquiat, whose contemporary works are valued in the multi millions, you might think he is the ‘North Star’ potential of artists in the region for innovation and influence. However, one can argue that some Caribbean artists today may have already crossed this bar.
Below are just a handful of current successful artists, each with a unique perspective, descending from the Caribbean.
Tavares Stracthan of the Bahamas, sent his sculpture to outer space. How cool is that? In 2018, Stracthan created a record breaking sculpture, ‘Enoch’, a tribute to Robert Henry Lawrence Jr., the first African American astronaut selected for any national space program. This project supported by the Los Angeles County Museum of Art and SpaceX, included the tribute alongside its usual communications and observation satellite. His sculpture will orbit the world for 7 years!
2. Artist Mark King of Barbados, combines architecture, behavioral psychology, cognition and technology to produce the most captivating designs and forward thinking collaborations. Most recently, he has been leading innovation training sessions at the Tate Modern, London. We had the opportunity to sit with Mark to discuss his inspiration and vision, and were floored by his ability to observe, deconstruct, combine and create, using alternative media such as textiles.
3. Suchitra Mattai of Guyana weaves vintage saris into massive tapestries at the Sharjah Biennial. Her art explores difficult topics around immigration and borders, and always manifests into the most beautiful array of colors, wovens and other intricate multimedia. She is known to combine nostalgic found objects, embroidery, newspaper clippings and antique colonial prints into her works.
An increasing focus on Caribbean Art Internationally
As the appetite for equality in gender and race representation in the global art market grows, we see corresponding growth in the attention given to Caribbean artists in exhibitions and galleries worldwide. Perhaps one of the most interactive and interdisciplinary of 2019 was the ‘Get up Stand Up Now — Generations of Black Creative Pioneers’ exhibition at the Somerset House in London. Curated by British-Trinidadian Zak Ové, this exhibition was a multi sensory experience of videos, music, photographs, paintings and more, from the Windrush period to now. The show featured 110 brilliant young artists in their generation and their genre.
PAMM Museum in Miami ‘The Other Side of Now — Foresight in Contemporary Caribbean Art’ exhibition challenged Caribbean artists to envision the future for the Caribbean. Invited artists represented a wide range of islands including Puerto Rico, Curacao, Haiti, Trinidad and Tobago, and Barbados. The show was curated by María Elena Ortiz, the associate curator at the PAMM, who is originally from Puerto Rico, as well as Trinidadian Dr. Marsha Pearce; Cultural Studies scholar based at the University of the West Indies.
A corresponding increase in Value
With increased international focus on art from the Caribbean region, coupled with the emergence of social media technology, artists are now able to reach a much wider audience. This garners interest, excitement and buzz around their unique points of view, and expressions. Islands which were deemed closed markets are now opening. With the increase in success of more mid-level and established artists (up to 50% year over year), we see continuous growth opportunities for emerging artists to follow suit, enabling a wide range of price points for all levels of investors.
Who should Invest?
While opportunities exist for all art lovers looking for a diverse perspective, meaningful connection, and economic gain, we do see the emergence of a new Collector segment; the Caribbean diaspora. Sizeable, well-educated, and affluent (mostly through professional success), this demographic is largely interested in investing in its countries of origin. After real estate, which has its own challenges to non residents in the region, Art is the next viable option. This hunger to connect with their roots, own their history and secure a positive future for the region is evident. The recent and historic Art Gallery of Ontario acquisition of the Montgomery collection of Caribbean photographs, was fundraised largely by members of Toronto’s Black and Caribbean communities. Through stimulation and development of the Caribbean diaspora as a Collector segment, we estimate not only emotional and financial gain potential, but a halo effect on the Caribbean society as a whole.
LES ÎLES
Our mission is to enhance the visibility of artists from the Caribbean region and its diaspora, bringing together on one platform, artists from the English, Spanish, French and Dutch speaking Caribbean. We are initiating a dedicated channel to facilitate this growing ecosystem of Caribbean artists and investors. Through this, we hope to stimulate awareness and development of a structured Art Economy in the region, one that generates value for artists, new and experienced collectors. To learn more about Caribbean artists, please visit us at www.lesiles.com, where we also encourage you to subscribe for updates! You can contact us at team@lesiles.com with any inquiries, comments or just to reach out!
]]>Rounding up 2019, Art Basel included a range of shows in Overtown, Little Haiti and North Miami, among other places, spotlighting Latin American and Caribbean influences. Such artists are recognized as major contributors to the fabric of of Miami’s diverse artistic community. Of these multicultural gems, we at Les Iles have been particularly struck by the works of the following artists, who we believe that everyone should know:
Zoya Taylor was born in Vancouver, raised in Kingston, is now a resident of Oslo, Norway. In a personal statement about her work, she says:
“My art falls somewhat outside, but I guess that is only fitting. I paint the cast of characters which fill the spaces in between. We all have a cast of characters that define our lives. My cast is the cast of the misfit. They are “immigrants” found between cultures, continents, languages and disciplines. My characters become their own characters and in this way hopefully the characters of their viewers ”.
The theme of immigration is heavily impressed, since “she now feels herself to be both of many places and no place at all.” She focuses on people themselves, expressing her fascination with them and the varying themes of humanness. She hopes to extract through her work, an emotional connection, which recognizes secrecy, pride and hurt, but also humor, hope and love.
2. Dalton Gata Garcia
Dalton Gata Garcia was born in Santiago de Cuba, Cuba and now lives and work in Coamo, Puerto Rico.
Art Basel shared an image of Garcia’s ‘Swimming On Asphalt, While Dreaming Of The Sea’ on their social media, describing it as “a glimpse into the artist’s universe; one that blends his personal identity with popular Caribbean culture and autobiographical references. Mixing personal relationships with past lovers and Internet findings, music with fashion and design, and blending drag with fantastical creatures and scenarios.”
The artist intimately investigates identity and memory, and addresses different angles around the concept of how we become who we are. Within the context of Caribbean art specifically, his undaunted depictions of gender diversity are striking, since they address a traditionally taboo subject matter without much obscurity.
3. Suchitra Mattai
Suchitra Mattai was born in Guyana, but has spent her life in a diverse mix of locations all over the world. She has spent time in Halifax and Wolfville, Nova Scotia, Philadelphia, New York City, Minneapolis, and Udaipur, India. These varied environments have directly impacted her research and influence.
Suchitra is a multi-disciplinary artist who now lives and works in Denver, Colorado. In her statement, she explains that her primary interests are the complex relationship between the natural and artificial worlds, and the questioning of historical and authoritative narratives, especially those surrounding colonialism. She creates via a wide range of materials, incorporating textiles, embroidery, painting, fiber, drawing, collage, installation, video, and sculpture. “The other” is a common theme in her message, with particular consideration paid to the Indian diaspora, especially as it relates to Caribbean immigration and indentureship.
4. Paul Anthony Smith
The Jamaican-born, Brooklyn-based artist Paul Anthony Smith employs picotage in his photographic work, adapting a technique traditionally used for printed textiles. With a ceramic tool resembling a needle, he laboriously picks away small dots from the surface of his pigment prints to create shapes that tend to look like breeze block wall patterns, or chain-link fences.
He references both W.E.B. Du Bois’ concept of double consciousness and Franz Fanon’s theory of diasporic cultural confusions caused by colonialism. The photographs are captured in Jamaica and New York, and are of Afro Caribbean subjects. However, he alludes to African rituals of scarification to obscure and alter his subjects’ faces and skin. His work questions the ability of a photograph to retain the truth in its storytelling.
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