Projects & Space

Projects & Space

 Ply Wood Project

The Boardwalk on Barbados’ south coast is a host to many things. Entrances to restaurants, joggers, strollers, fisherman, crabs. But on the 25th September 2011 it became host to a stamped event in the local contemporary art scene: The Ply Wood Project. Inspired by an international public exhibition, Projects and Space founder Sheena Rose co-ordinated an environment where the young creative community of our island could display fresh works. The brief was to conceive a piece based around the main themes of Identity and Revolution, on a canvas of 10” by 10” block of plywood. The day before it landed on the Boardwalk, the works were moved around three other public space locations, making it a truly mobile and interchangeable event. 

But why would an informal, un-institutionalized showcase be such an important occasion in the development of local art?  Firstly, the concept of having a nomadic exhibition space is very progressive. It could be seen as a form of street installation, changing the way a certain public space is perceived - in this case, a domestic fence or an industrial barricade becomes a platform for presentation. This ‘out of the white cube’ type thinking disregards the control of taste, being an open and raw demonstration of what young creatives in Barbados are producing - from poets, photographers and artists. Even those practicing in the culinary arts were able to express themselves on the block of wood. 
The lack of exclusivity extended to the commercial aspect as well. Works were no more than $100 BDS and artists could trade works amongst themselves, providing an opportunity for the community not only to be exposed to the current art pieces, but own one as well. Similar models to this are seen internationally, such as the annual Affordable Art Fair in London, and has proved to be beneficial to the prospering of emerging artists. True enough, over 90% of the works exhibited at the Ply Wood Project were sold on site.  
Then there is the content of the works, which definitely stepped out of the realm of traditional and stereotypical Caribbean depictions, allowing for subversive concepts to appear. 
Take Joanna Crichlow’s two pieces, portraits of chickens on long strips of wood. Joanna explained to me her story of the chickens, how she nurtured and raised them from chicks, how she set them free into the world, and how they keep returning to her, flourishing and growing in population. And most importantly, how her mother strongly disproves of this situation and wants the chickens eradicated from her and Joanna’s environment. Use the chickens as a metaphor for Joanna’s creativity and her mother as the commercial art ‘authorities’ on island, and these pieces are a strong social commentary on the state of contemporary art in Barbados. 
More overtly political, was Annalee Davis’ piece ‘I Am Troy Davis’, referencing not only the inhumanity of the situation surrounding the convicted, but also possibly the need for Barbadians to be more critically involved in Politics both on an international and local level. Stark white paint on a bright blue background beared the unabashed truth in a four word statement, encouraging viewers to reflect on their own legislative morals.  
Ewan Atkinson’s portrait was an intricate piece on the theme of Identity, a subject he is familiar with artistically, exploring it in many layers. This particular work seemed to convey his reservations about two main parts of self- his national heritage as a Barbadian, and his role as a male. A reference to education in the notepaper appears to encompass the image where Atkinson is comparing what he has been taught about these parts, and what he inherently knows. 
On a similar vibe, Au Relia’s self portrait illustration depicted a blissfully smiling woman, bathed in a bright yellow paint of the sun, and cheerful peach to coral tones. The Caribbean woman as delightfully beautiful. However, the paint dripping down the plywood would suggest that perhaps all is not as it seems, and that the elatedness is not entirely sustainable. And should it be?
Roshida Bradshaw’s portrait was equally as thought provoking, for different aesthetic reasons. Instead of happiness, this piece had a sense of erraticism and displacement. The face was a fragmented outline, and airbrushed neon orange, blue and green tones sprawled across the wood graffiti style, evoking an urbanized sense of self.
And of course the works of Sheena herself. Six pieces influenced by Pop Art, but making it relevant to a Caribbean setting. Reproductions of old local commercial logos such as the Julien Supermarket icon, doused in bright colours and presented as art. Comments on the ‘kitsch’ of Barbadian decoration in the depiction of the duck ornaments and flower patterns. Using the benday dot technique to generate a self portrait. All of these aspects expanded an international style to local subject matter, showing that Sheena not only understands the fundamentals of Pop Art, but expresses its appropriateness in the state of art consumerism here at the moment.   
It’s fair to say that the well received response to this event was the best that Projects and Space has seen yet. It was incredibly successful in terms of enthusiastic turnout, number of works sold, and media coverage - the event will be featured on the next ‘Eye on the Arts’ program. This only exemplifies the void in the art community that is aching to be filled by more affiliations like Projects and Space, Fresh Milk, and ARC Magazine. Bring on the next event! © Natalie McGuire