As a self-described experimental artist with a research-based practice that explores form and the development of non-standard languages through new media, years have been spent investigating the intricate connections between natural environments, culture, and technology—offering distinct perspectives on the Caribbean experience—particularly the island of my birth, Jamaica. Additionally, I have been studying ways to use the technological tools available to me to create stories and share them both online and in person. I am grateful for the opportunity to have two of my significant artworks, The Caribbean Sea and Me: Chapter One (2019 to present) and Chaotic Beauty (2016), on display in this exhibition.
On December 15, 2024, the National Gallery of Jamaica opened the highly anticipated Kingston Biennial 2024: Green X Gold exhibition, a groundbreaking exploration of land, environment, and ecology. Inspired by the themes of the Jamaican flag, it also critiques the Caribbean’s tourism-driven portrayal as a “paradise.” The exhibition was curated by Ashley James, PhD (Associate Curator at the Solomon R. Guggenheim, New York, USA) and co-curated by O’Neil Lawrence (Chief Curator at the National Gallery of Jamaica, Kingston). It runs until June 2025.
For both works, storytelling, chaos, beauty, and the interplay between the natural and digital worlds remain at the forefront. Each piece has a rhythmic, expressive flow that highlights the nature of my artistic style. The Caribbean Sea and Me: Chapter One captures vibrant energy and connections within the Caribbean landscapes and seascapes through a fusion of abstract imagery and digital techniques. In contrast, Chaotic Beauty, an award-winning experimental film/video artwork, explores the unpredictable yet captivating dynamics of the environment and human emotion, creating an immersive visual and emotional experience.
Chaotic Beauty seeks to compare and contrast how the human brain perceives, processes, and interprets visual imagery gathered from everyday experiences. Using moving images generated solely through digital technology—such as video editing applications and computer graphics software—I gather raw footage of objects, environments, and people, then edit it to incorporate psychedelic colours and juxtaposed movements. Through these visual manipulations, I hope the viewer will reconsider the extent to which visual perception can blur the line between the natural and the synthetic.
The Caribbean Sea and Me: Chapter One offers a personal view into Caribbean culture, essence, and energy through bold, abstract videos and paintings. This introduction to the series moves beyond the historical expectations of what ‘Caribbean art’ should look like, challenging the familiar visuals often associated with the region. It’s a reminder that our culture is layered, dynamic, and far more complex than what’s typically seen on the surface.
This multimedia art installation marks my first foray into using paint as a medium in an exhibition. While it is my debut showcasing painted works in a museum, it is not my first experience with painting. I have created a few abstract pieces for personal enjoyment and contributed to charitable initiatives by painting murals for schools and communities.
The arrangement of the canvases and monitors creates a symbolic window, inviting viewers to engage with fresh conversations that merge digital and painted expressions. The window serves as a metaphor for opportunity—a reminder that I can create and thrive with what I have, right where I am, until… As a Jamaican artist, it’s about looking outward, connecting with the wider world, and finding possibilities without feeling the need to leave home in order to make a living from art. The warm lighting reflects the layered, intricate nature of the Caribbean Sea, while slyly challenging those who attempt to narrow or confine its meaning.
Likkle canoe kip near shore (Jamaican Proverb)
English Translation: Little canoe is kept near shore
Definition: It’s wise to stay within safe limits
A sincere thank you to the hardworking staff at the National Gallery of Jamaica, especially Monique Barnett-Davidson (Senior Curator) and Joelle Salkey (Conservator) for their guidance and technical advice in translating a section of The Caribbean Sea and Me: Chapter One (acrylic latex on plywood sheets) from its digitized format into a painted work; and O’Neil Lawrence (Chief Curator), Shawna-Lee Tai (Assistant Curator), Dwayne Lyttle (Curatorial Assistant), Travis McDonald (Curatorial Assistant), Seymour Lewis (Installation Officer), Javíer Gordon (Record & Information Manager), Adrian Denton (AV Specialist/Graphic Designer), and Diane Smith (Acting Director of Finance & Administration) for their dedicated efforts.
Additional thanks to Serchen Morris of CET-IT Studios and Oral Clarke for technical/electrical support, as well as Antwain Clarke and Cindy Israel for their contributions.
This article originally appeared on medium.com
