Bacardi Limited Biennial of Contemporary Bermuda Art 2010 Catalogue

BERMUDA NATIONAL GALLERY

BIENNIAL2010

EXHIBITION OF

CONTEMPORARY

BERMUDA ART


EXHIBITION OF CONTEMPORARY BERMUDA ART

BIENNIAL 2010

This catalogue was published on the occasion of the 2010 Biennial Exhibition of Contemporary Art at the

Bermuda National Gallery, Hamilton, Bermuda. June 18 – November 26, 2010.

Made possible by Barcardi Limited Supported by Bermuda Department of Tourism

© 2010 Bermuda National Gallery

All rights reserved. No part of this publication may be reproduced or

transmitted in any form or by any means, electronic or mechanical, including photocopy,

recording, or any other information storage and retrieval system, or otherwise without

written permission from the Bermuda National Gallery.

Bermuda National Gallery

City Hall & Arts Centre

Suite #191, 48 Par-La-Ville Road, Hamilton HM11, Bermuda

Tel: (441) 295-9428 • Fax: (441) 295-2055 • www.bng.bm

Printed by Copy Craft Printers, Lubbock, Texas

Catalogue designed by Kristen Rego

Acknowledgements:

Editing: Lisa Howie, Jane Staunton, Connie Dey

Administration: Sunell van der Westhuysen, Yoga Horseman

CONTENTS

FOREWORDS

PREMIER’S WELCOME, DR. THE HON. EWART F. BROWN, JP, MP...............

CHAIRMAN, GARY L. PHILLIPS, OBE..........................................................................

DIRECTOR, LISA HOWIE...................................................................................................

TITLE SPONSOR, BACARDI LIMITED, MICHAEL BRENNAN.....................................

IN REMEMBRANCE OF DENNIS SHERWIN, CHARLES ZUILL, PhD...................

CURATOR, SOPHIE CRESSALL.......................................................................................

JURORS, VEERLE POUPEYE & TUMELO MOSAKA..........................................................

WELCOME, ANA ROSA FREITAS.......................................................................................

THE ARTISTS..................................................................................................................................

ARTIST DETAILS...........................................................................................................................

EXHIBITION LISTING...................................................................................................................

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CHAI RMAN’S FOREWORD

GARY L. PHILLIPS, OBECHAIRMAN

BERMUDA NATIONAL GALLERY3.

In the decade and a half that I have been a member of the Bermuda National Gallery, I cannot

recall a time when the Bermuda Biennial did not provoke intense discussion – indeed

controversy, to the point where even abandoning such an exhibition was seriously

contemplated.

It is my sincere hope that the Bermuda public and visitors alike will find this year’s 2010 Biennial

no less stimulating and provocative. And as such, I especially want to celebrate those artists who

fearlessly and boldly have created a new body of work to be assessed by external jurors with

a wealth of artistic talent and experience – particularly in contemporary art. I submit that Bermuda

and art in Bermuda are the richer for this exercise.

This year, we are grateful to Veerle Poupeye, Executive Director of the National Gallery of Jamaica

and Tumelo Mosaka, Curator of Contemporary Art at the Krannert Art Museum in Illinois, for

providing a new window of opportunity and even a prescription that could herald an entirely new

energy to capturing the vast cultural and social richness of our community.

On behalf of all the Trustees, I offer my congratulations to the artists and extend our deep

appreciation to Bacardi International President and CEO, Michael Brennan and his staff for their

sustained encouragement and support of the Biennial over many years. Thank you to the Bermuda

Department of Tourism for their support.

PREM I ER’S WELCOME

DR. THE HON. EWART F. BROWN, JP, MPPREMIER

MINISTER OF TOURISM AND TRANSPORT2.

It has been said that art shouldn’t merely comfort or entertain us – it should also challenge us. I hope this exhibit leaves you thinking about

your place in our shrinking world. It is my sincerest hope that this year’s Biennial will help each of us to appreciate the creativity,

diversity and strength of our people. I encourage everyone in Bermuda to come and see the Biennial to be inspired and challenged.

Sincerely,

Bermuda Department of TourismGlobal House, 43 Church Street Tel 441 292 0023 Fax 441 292 7537Hamilton HM 12 Bermuda www.bermudatourism.com

On behalf of the Government and the people of Bermuda I would like to congratulate the twenty artists whose work was chosen to be included in the 2010 Bacardi Limited Biennial of Contemporary Art – Bermuda’s premier art exhibition. Let me also congratulate those whose work was not selected. To expose oneself to the scrutiny of international jurors is certainly a daunting undertaking. Be not discouraged however. Take solace in the words of Persius who said: “He conquers who endures.”

Since the Biennial started twenty years ago the quality of art has undoubtedly evolved to an international standard with the jurors commenting on the quality of work submitted and the technical skills of the artists. While they were surprised at how vibrant our local art scene is – we who have seen the evolution of our local artists were not.

It has been said that art shouldn’t merely comfort or entertain us – it should also challenge us. I hope this exhibit leaves you thinking about your place in our shrinking world. It is my sincerest hope that this year’s Biennial will help each of us to appreciate the creativity, diversity and strength of our people. I encourage everyone in Bermuda to come and see the Biennial to be inspired and challenged.

Sincerely,

Dr. the Hon. Ewart F. Brown, JP, MPPremier Minister of Tourism and Transport



Since the Biennial started twenty years ago the quality of art has undoubtedly evolved to an international standard with the jurors commenting on the quality of work submitted and the technical skills of the artists. While they were surprised at how vibrant our local art scene is – we who have seen the evolution of our local artists were not.


Sincerely,


On behalf of the Government and the people of Bermuda I would like to congratulate the twenty artists

whose work was chosen to be included in the 2010 Bacardi Limited Biennial of Contemporary Art –

Bermuda’s premier art exhibition. Let me also congratulate those whose work was not selected.

To expose oneself to the scrutiny of international jurors is certainly a daunting undertaking. Be not

discouraged however. Take solace in the words of Persius who said: “He conquers who endures.”

Since the Biennial started twenty years ago the quality of art has undoubtedly evolved to an international

standard with the jurors commenting on the quality of work submitted and the technical skills of the

artists. While they were surprised at how vibrant our local art scene is – we who have seen the evolution

of our local artists were not.


Since the Biennial started twenty years ago the quality of art has undoubtedly evolved to an international standard with the jurors commenting on the quality of work submitted and the technical

skills of the artists. While they were surprised at how vibrant our local art scene is – we who have seen the evolution of our local artists were not.


Sincerely,



2.

LISA HOWIEDIRECTOR


Ambiguity is the hallmark of contemporary art, often, so too is the forward funding for an exhibition. The Bermuda National Gallery is

grateful for the dedicated sponsorship of Bacardi Limited, and this year, the support of the Bermuda Department of Tourism. We all agree

in the value of cultural tourism, community enrichment, and aesthetic pleasure created by this important art exhibition.

Since 1994 international art experts have juried this exhibition, be they acclaimed artists, established curators or museum directors, each

bringing a sensibility of contemporary art and a vision for a “biennial”. When we look across the previous biennials to today, it is clear that

Bermuda’s culture is very much alive with visual artists who are creating stimulating artwork.

Presently, Bermuda’s arts scene continues to grow. The Corporation of Hamilton has extended the leases to the Bermuda National Gallery

(BNG) and the Bermuda Society of Arts (BSoA), so that the City Hall & Arts Centre continues to be just that. The BSoA, Bermuda’s oldest

artist society, continues to provide emerging and established artists with cost-effective exhibition space. The Masterworks Foundation’s

annual Charman Prize gives artists a competitive opportunity to win awards and prize money, while being inclusive of all artists. The

Dockyard Arts Centre and Kaleidoscope Arts Foundation both offer studio space and gallery space for artists. And with the recent

re-opening of Windjammer II at the Hamilton Princess, artists have another opportunity to interface with the commercial market, while

gaining exposure to the international demographic. Artists have many opportunities to showcase their talents and evolve by doing so.

As this is my first biennial as the Director of the BNG, I felt it important to critically address the paradigm established by the previous

biennials, and question why do we host a biennial? What do we intend to see happen as a result of the biennial? In a word, the answer is

internationalism.

This exhibition has the opportunity to be internationally competitive. It has the potential to play a role in the international art scene. It has

the possibility of travelling and seeing parts, if not the whole, represented in relevant contexts, such as the Caribbean. In questioning what

the biennial is, leads to what the biennial can become.

It is my endeavour to establish relationships with the 2010 jurors and indeed make a pledge to Bermuda’s artists that we can

evolve the Bermuda Biennial into one that gains greater exposure and appreciation beyond our Island’s shores. Engaging with the

‘other’, projecting our culture into alternative spaces and places, will shed light on the vitality of our local arts scene, while quite potentially

launching careers into the global sector. Your support of this initiative is greatly appreciated.

DI RECTOR’S FOREWORD

4.

SPONSOR’S FOREWORD

5.

The Biennial Exhibition, one of the most dynamic events on the art calendar, inspires Bermuda’s contemporary artists to strive beyond

their normal comfort zones to greater heights of artistic exploration. Especially in these difficult times, we need creative and talented

artists to imagine a better future, and to enhance the lives of all of us living in Bermuda. We need to celebrate this spirit for life - this vigour

of heart, mind, and soul to reach beyond limits, wherever it is found.

At Bacardi, we celebrate spirit for life everyday in everything we do. In fact, Spirit for Life is our basic purpose, the very essence of

our passion; why we love to work for Bacardi. Spirit for Life encompasses sociability, optimism, energy, and enhancing peoples’ lives –

making good times great, helping to create memories that will live forever. This too involves striving to greater heights of creative

exploration, and adding fun to our everyday lives.

Since 1998, Bacardi is delighted to be a part of a great tradition of excellence upheld by the Bermuda National Gallery,

celebrating the spirit of Bermuda’s art community.

On behalf of Bacardi Limited, I extend congratulations to the organisers of the Biennial for the vision in supporting the art community

with this well-crafted juried exhibition. To the distinguished international jurors - Veerle Poupeye, Executive Director, National Gallery

of Jamaica, and Tumelo Mosaka, Curator of Contemporary Art, Krannert Art Museum, University of Illinois - we are grateful for your

participation in judging this exhibition. To the artists who submitted work, your courage is an inspiration, and I wish you every success in

following your artistic passion.

About Bacardi Limited

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MICHAEL BRENNANVICE PRESIDENT FINANCE – CORPORATE CONTROLLER

BACARDI LIMITED

CURATOR’S FOREWORD

7.

Bermuda’s artistic tradition has been built on a western aesthetic imbedded in European colonialism. This tradition has been informed

throughout history by diverse cultures such as African, American, Caribbean, Irish, Native American, and Portuguese. It is this diversity

that has developed Bermuda’s highly complex identity and it is this synergy of histories, memories and cultures that provide the context for

today’s contemporary art.

This year marks the 115th year since the first Biennale exhibition in Venice in 1895. Initially conceived to reflect the art of the times, this

mandate has not changed. National and international Biennial exhibitions endeavor to continue the tradition of highlighting artworks that

respond to and articulate the surrounding contemporary culture; they are portholes, visions for the future.

2010 marks the Bermuda National Gallery’s 9th Biennial of Contemporary Art. This year the exhibition received an impressive 277

submissions from 71 artists. Artworks submitted responded to universal themes in modern day society; they connected with global issues

and were influenced by a variety of cultural traditions. Other works explored artistic movements, philosophies, aesthetics and styles. The

artistic mediums ranged from digital film to performance, traditional landscape paintings to portraiture, assemblage to sculpture,

photography to print. This range of artistic expressions and mediums is evidence of Bermuda’s thriving art scene.

After a rigorous and structured jury process, 42 pieces of art by 20 artists were chosen for this exhibition. The works selected challenged

traditional art forms by pushing boundaries and redefining visual art, but this alone was not the success of a work. The success lay in the

artist’s ability to synergize context, technique, and originality, creating a piece of artwork that challenged set artistic traditions.

Some may question why some of the most well-known, well respected artists in the community were not represented in this

selection: the answer lies in the intent of the exhibition. The exhibition seeks to represent artwork that challenges the traditional

and continues to drive radical aesthetic innovation.

I would like to thank all the artists who submitted artwork for the 2010 Bermuda National Gallery Bacardi Limited Biennial. It takes courage

and conviction to have your artwork juried, and I thank you for participating in the dialogue. The discourse on contemporary art is alive in

Bermuda and I am thrilled to play a role in this discussion.

SOPHIE CRESSALLCURATORFOUNDING TRUSTEE

BERMUDA NATIONAL GALLERY BERMUDA NATIONAL GALLERY

IN REMEMBRANCE OF DENNIS SHERWIN

CHARLES ZUILL, PhD

Shortly after the Bermuda National Gallery opened its doors to the public in 1992, Dennis Sherwin, one of the major founders of the

Gallery, suggested that we consider hosting a Bermuda biennial exhibition. Thus began one of the major events in the BNG

exhibition calendar. Now, eighteen years on and nine biennials later, the “Biennial” is seen today as an important encouragement of

the visual arts in Bermuda and possibly a catalyst in the resurgence of the contemporary Bermuda art scene.

Dennis was always very proud of the Biennial. Even in his last years, when he often found it difficult to get out to exhibitions, he

always made a point of seeing the Biennial.

Shortly after I returned to Bermuda in 1983, I met Dennis; however, odd as it may be, I do not recall the meeting, although I am very

sure it had something to do with the Bermuda Arts Centre at Dockyard, for Dennis loved the visual arts. From thereon, our paths

often crossed and as time went on, we began to work on projects that brought us into a close working relationship. First, it was the

Bermuda Arts Council and then we were asked to be trustees of the Bermuda Fine Art Trust. This quickly led to being on a steering

committee to consider the feasibility of establishing a Bermuda National Gallery and when that became a reality, we became

trustees of the BNG. More than that, Dennis was always there with wise counsel and quiet financial support. Additionally, Dennis,

who was a keen collector of art, especially modern original prints, was always generous in allowing the BNG to exhibit selections

from his collection. With the death of Dennis on December 19, 2008, the Bermuda National Gallery and the Biennial lost a very

dear friend.

On this the opening of the ninth Bacardi Limited Biennial Exhibition of Contemporary Bermuda Art, it is fitting that we all remember

our good, wise and generous friend, Dennis Sherwin.

6.

General artistic merit was another prime consideration. We took the position that making a provocative statement was not, in itself,

enough to warrant inclusion but that the work had to do so with integrity and authenticity and with the conceptual and formal imperatives

of the work adequately resolved. We looked for technical accomplishment and, in doing so, noted several problems with production

and presentation. Several works that had excited us when we first saw them as slides disappointed when seen in actuality and we wish

to emphasize that decisions about the media and techniques used, about scale, and about framing and mounting are crucially important

to the success of a work of art. The Bermuda Biennial provides artists with an opportunity to take bold, new steps and we regretted

that even the work we selected was often too safe and predictable. We invite these artists to deepen their queries for the next biennial

and, while not wishing to be prescriptive, remind them that Bermuda’s unique history and present day social conditions present a rich

field of possibilities.

As the invited jurors for the 2010 Bermuda Biennial, we took a particular position on the purpose of this biennial and, by implication, asked

who this biennial is for and what it seeks to achieve. These are of course questions that need to be answered from within the Bermudian

art world and we invite the Bermuda National Gallery and the Bermudian art world as a whole to engage in dialogue on this subject.

VEERLE POUPEYE TUMELO MOSAKAEXECUTIVE DIRECTOR CURATOR OF CONTEMPORARY ART

NATIONAL GALLERY OF JAMAICA KRANNERT ART MUSEUM, UNIVERSITY OF ILLINOIS9.

JURORS’ FOREWORD

The term biennial is a charged one in the context of contemporary art. It implies a high-profile, recurrent exhibition, held in and usually

named after a particular location, in which the art presented and the curatorial positions taken are informed by a critical self-awareness of

the possibilities and fault lines that define the present moment. In a world where local and international biennials have become

commonplace and operate in the service of stimulating economic growth and cultural identity, these projects have the potential to move

beyond familiar ideas and processes to envision new paradigms. A successful biennial contributes meaningfully to the dialogues and

exchanges that shape the course of contemporary art, locally and globally, and this usually benefits the artistic communities in which

these events take place – the exponential development of contemporary art from Cuba after the establishment of the Havana Biennial is

a case in point. The location of a biennial is crucially important, not only because of its effects on local art worlds, but also because

a biennial’s unique perspective and significance is to a great extent determined by its local context.

The Bermuda Biennial is a national biennial, which consists exclusively of work by local artists, in the sense of artists of Bermudian

and other origins who are based on the Island and Bermuda-born artists who live elsewhere. As such, it is similar to, for instance, the

National Biennial in Jamaica. While the Bermuda Biennial primarily addresses its local art world, the inherently cosmopolitan character

of Bermudian society and the use of overseas jurors extend its focus beyond the borders of Bermuda. The use of external jurors allows

for each edition of the biennial to have its own specific focus, determined by dialogue between what was submitted by the artists, the

curatorial and critical perspectives and decisions of the overseas jurors, the curatorial practices of the Bermuda National Gallery and,

ultimately, the critical and audience reception of the resulting exhibition.

The selection process for the 2010 Bermuda Biennal presented difficult challenges for us that seemed inherent to its location and the

history. In making our selections, we felt compelled to move beyond the already ascribed visual vocabulary that reflects figuratively on

the Bermudian landscape, the all-too-comfortable “island aesthetic” that can be seen in many of the local galleries and is well supported

by the local art market and cultural tourism. We are not disputing the legitimacy of such work in the Bermudian context and recognize

that much of it is highly accomplished in its own right, especially from a technical point of view. The exhibition we have selected, therefore,

does not seek to provide a broad survey of the contemporary art scene in Bermuda. Had we done so, we would have produced a

biennial which replicated much of the 2008 edition and unproductively encouraged stagnation. Instead, we have focused on work that

departs from the safe, fixed positions we detected in much of what was submitted and charts more open-ended, critical

trajectories, in keeping with what we believe should be the exploratory, developmental thrust of this biennial. This was the main

criterion we used in our selection process.

8.

ANA ROSA FREITASACTING CÔNSUL

10.

WELCOME

CONSULADO – GERAL DE PORTUGAL EM LONDRES

It is with great pleasure that, in representation of the

Portuguese Government, I would like to welcome all the

participating artists in the 2010 Biennial – Exhibition of

Contemporary Bermuda Art hosted by the Bermuda

National Gallery.

The combination of all the pieces done by different artists,

showing through their work so many different cultures, that

combined, enrich and expand furthermore the culture and

the history of Bermuda.

Therefore, I would like to express my appreciation and

applause to the artists that, with their work, love and

conviction, will make this a successful event.

Finally, I also would like to congratulate everyone that has

contributed to put this exhibition together, making this event

a reality.

É com imenso prazer que, em representação do Governo

Português, venho dar as boas vindas a todos os artistas

que participam na “Exposição Bienal 2010 de Arte

Contemporânea” que a Galeria Nacional da Bermuda leva

a efeito.

A combinação das peças dos vários artistas, revelam,

através da sua arte, diversas culturas que, intercaladas

enriquecem e levam mais além, a cultura e a historia da

Bermuda.

Assim, deixo aqui o meu apreço e aplauso aos artistas que,

com o seu trabalho, amor e convicção, que certamente não

deixará de ser um êxito.

Por último, quero também, dar os meus parabéns a todos

aqueles que trabalharam para que evento se tornasse uma

realidade.

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MEREDITH ANDREWS.................................................

JOHN BATTERSBEE....................................................

LOUISA BERMINGHAM FLANNERY...............................

WILLIAM COLLIESON..................................................

JAMES COOPER.........................................................

GRAHAM C. FOSTER..................................................

JOHN A. GARDNER.....................................................

CHARLIE GODET THOMAS..........................................

KATHERINE HARRIOTT................................................

SCOTT HILL...............................................................

ANTOINE A.R. HUNT...................................................

N. CHRISTINA HUTCHINGS.........................................

SUNELL LOMBARD.....................................................

IAN MACDONALD-SMITH............................................

BILL MING..................................................................

KEVIN MORRIS...........................................................

BRYAN RITCHIE..........................................................

ALAN C. SMITH..........................................................

MICHAEL WALSH........................................................

CHARLES ZUILL.........................................................

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THE EXHIBITION WE HAVE SELECTED...DOES NOT SEEK TO

PROVIDE A BROAD SURVEY OF THE CONTEMPORARY ART SCENE

IN BERMUDA...INSTEAD, WE HAVE FOCUSED ON WORK THAT DEPARTS

FROM SAFE, FIXED POSITIONS WE DETECTED IN MUCH OF WHAT

WAS SUBMITTED AND CHARTS MORE OPEN-ENDED,

CRITICAL TRAJECTORIES.Veerle Poupeye Tumelo Mosaka

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Johny, 2008. Digital photograph, 36 x 24 in.Walls, 2009. Digital photograph, 24 x 36 in.

Meredith Andrews has been working as a professional photographer since the completion of her MA in 2000. Meredith’s

latest exhibitions focus on an interest in human and social behaviours. In 2008 Meredith completed an eight-month trip to over

twenty countries shooting a variety of projects. Most recently her focus has turned to formal portraiture. She currently splits

her time between Bermuda and Sweden.14.

Guards, 2009. Digital photograph, 24 x 36 in.

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My collection is inspired by free will and spirituality. Upon meditation, I then gain insight as to how the

portrait should come together. I can visualize the design before compilation. I am often inspired by various

colour palettes; it urges me to compose new designs with assorted colour schemes.

Life’s Pulse, 2009. Pen and pencil, 18 x 23 in.

Guardians, 2009. Pen and pencil, 22 x 281/4 in.

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She Felt the Eyes of Others, 2009. Ink, gouache, water soluable graphite, hair, 6 x 4 in.Untitled (Hairy Bear as Frida), 2008. Hair, acrylic, fabric, ink. 6 x 4 in.

I have continued to develop my series “She was a Hairy Bear, she was a Scary Bear.” The work is centered on the use

of my own hair, which carries for me, great symbolism in the emotional, social and hormonal lives of women. I have also

started using Hairy Bear and the female experience as microcosm, reflecting and commenting upon broader societal

taboos and prejudices. Hairy Bear Complete (Parts 1 - 9...She felt trapped, She was a host, She couldn’t believe her ears, Sometimes She needed to cry, She felt great, She was the little red hen, She felt like dirt, She contemplated growing a beard, She had a puncture in her foot), 2009. Mixed media, 4 x 5 ft.

I believe that art should raise questions and not be

separate from every day life. My work is based on the

conviction that art and life, although unequivocally

not the same, are indivisible.

Detail

Detail

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From the Outside Looking In, 2008. Mixed media, 72 x 144 x 4 in.

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Helmut Sculpture #1, 2009. Digital photograph, 43 x 60 in.

I like to use readily available, ‘everyday’ objects to create sculptures. Many times they have a very short lifespan. Although

the resulting photographs are all staged, it is important to me that they have a simple , ‘snapshot-ish’, aesthetic, so that they

feel familiar even when the subject matter is unusual.

Helmut Sculpture #2, 2009. Digital photograph, 43 x 60 in.

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24.Welded steel sculpture and painting are my two main mediums. Although I work

mostly from imagination, tribal art and Bermudian iconography are strong influences.

Detail

Seas of Europa, 2009-10. Plywood, enamel, nylon, 12 x 12 x 12 ft.

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After the Party, 2008 (detail). Bermuda Stone, cement plaster, Plaster of Paris, candles, 12 ft x 12 ft x 12 in.

There is a freedom and creativity to contemporary visual arts that is a critical counterpoint to the constraints of

our small and largely traditional society. Fortunately, the opportunity for work to be recognized is more accessible

and that is a privilege. My price for a voice at our cultural table is a commitment to advance individual work and

our collective culture till it can join a global debate as an equal member.

Scuba Tank, 2009. Photograph on lightbox, 8 x 12 x 8 in.

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In my practice I investigate notions of time and transition. My work deals with capturing personal reflections on

these themes, not so much presenting the facts, but rather conveying to the viewer their emotional dimension. As a first

person artist, I explore the dichotomy between personal experience and its presentation to a public audience.

There is a Time and Place, 2009. Film stills.

Those Times Seemed One, 2009. Digital photograph, 11 3/5 x 8 3/10 in.

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My work reflects my interest in social justice. I primarily focus on women’s rights and children’s

rights and their experience of the world. However, I am also interested in the wider issues of

oppression, socio-economics, power, inclusion and exclusion.

Back viewDetail

The Ties That Bind, 2009. Mixed media, 57 x 15 x 10 in.

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32. Art can change the world.

Acrobat Forest, 2009. Digital photograph, 32 x 32 in.

Untitled, 2009. Digital photograph, 66 x 44 in.

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Pickled 4, 2009. Toned and tinted cyanotype on paper, 45 x 30 in. Pickled 5, 2009. Toned and tinted cyanotype on paper, 45 x 30 in.

Small spaces are sometimes difficult to navigate; holding on to relevant reality is an interesting proposition.

Pickled 2, 2009. Toned and tinted cyanotype on paper, 45 x 30 in.

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36.Lost, Found & Whistle, 2009. Gouache and pencil, string and whistle, 17 x 11 in.

The intention of the work is to

represent ideas or situations. These

ideas and situations are the subject

matter. The work is spare in

form. The materials, and the titles,

are chosen with the intention

of adding to the meaning. For

example, a string may be thought

of as string, a line, or maybe a

colonial tie.

Bermuda Map, 2008. Gouache, pencil, string on paper, 60 x 100 in.

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Bus Slaves, 2009. Oil on canvas, 14 x 29 in.

I am fascinated by people; the way we interact,

express ourselves and construct identity. The raw

and imperfect have always appealed more to me

than the pretty and polished. These caricatures are

the result of honing in on our flaws and

fetishes and exaggerating them. The characters

and creatures that appear in my work are often

anthropomorphic. In popular culture, animals are

often ‘modified’ to suit our moral values. I find the

awkwardness and tensions that arise from

imposing human characteristics and values on

animals interesting. In reaction to these trends I

have been ascribing less flattering human qualities

and habits to animals.

Pontius Attacks the Cookie Stack with Utter Disregard for Self-loathing That Is Sure to Follow, 2008. Oil on canvas, 11 x 14 in.

The Proposal, 2009. Pen, ink and gouache on paper, 151/4 x 281/2 in.

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40. Any comment would dilute the imagery.

WC. Meersburg 550, 2009. Digital photograph, 33 x 50 in. WC. Amsterdam 1793, 2009. Digital photograph, 33 x 50 in.

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My work includes traditional materials and techniques

to subvert the complacent attitudes they have been

burdened with by modernism and I draw inspiration

from personal experiences and a diverse rich cultural

heritage. The stimulus for Hands Across Da Table

was “From dreamtime to machine time”, a painting by

Trevor Nickolls.

Detail

Detail

Hands Across Da Table (Pass It On), 2008-09. Mixed media, 38 x 62 x 3 in.

KE

VIN

MO

RR

IS

44.

My earlier works were done

in a experimental way,

influenced by Jean-Michel

Basquiat and Jackson

Pollock. Using words,

images and colour, along

with shape and texture, I

slowly and methodically build

up the picture’s surface, layer

upon layer, until there is a

pleasing overall balance, and

a visually interesting and

unified composition.

Jack and Vincent, 2008. Acrylic on canvas, 35 x 34 in.

Basquiat, 2008. Acrylic on canvas, 32 x 23 in.

BR

YA

N R

ITC

HIE

46.

Bad Intentions, 2009. Monotype, 24 x 18 in.

I consider my work to be a collection of opinions derived from social interactions, media influences, daily rituals and

memories. In particular, I enjoy exploring social and political paradigms through implied narratives. I question and parody

the circumstance behind each opinion using indeterminate, yet seemingly familiar characters that are perpetually in a state

of birth, coexistence and destruction.

Deceptive Touch, 2009. Monotype, 24 x 18 in.

Truth Seeker, 2008. Lithograph, 201/2 x 23 in.

AL

AN

C. S

MIT

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48.

Lucifer: The Burning Key, 2008. Digital photograph, 36 x 23 in. Survivor of the Flood, 2009. Digital photograph, 36 x 23 in.

The work that I am doing now and for the foreseeable future explores related narratives expressed in visual

art, poetry, prose and performance. There are autobiographical and metaphoric elements to the visual art pieces,

which are inspired by a series of poems entitled “granite gods”.

Angel G: Manisfestation, 2008. Digital photograph, 23 x 36 in.

MIC

HA

EL W

AL

SH

50.

Love, 1 cent, 2009. Performance, 60 x 60 x 60 in.

Art is the opportunity to

create reason. Where

other disciplines lead us

to uncover or trust in

significance, Art is unique

in giving us license to

assign our own. Artists are

obligated to provide us with

the opportunity to cultivate

our perspective.

Evoking Nothing, 2008. Cardboard, 87 x 174 x 174 in.

CH

AR

LE

S ZU

ILL

52.

Spume, 2008. Mixed media, 22 x 30 in.

My art is based upon the observation of nature and resulting experimentation. I observe the trace

marks of forces in nature and then try to replicate them in art. I do this by first attempting to

understand the natural forces at play in creating such marks and then try to recreate the situation

whereby such forces can interact with selected materials, so as to leave their trace in the materials.

Green Space, 2008. Mixed media, 38 x 521/2 in.

AR

TIST

DETA

ILS

54.

MEREDITH ANDREWS Bermudian, b. 1976

EDUCATION2000 MA, Goldsmiths College, University of London

1999 BA, McGill University, Montreal

1995 International Baccalaureate, United World College of the Atlantic, South Wales

EXHIBITIONS2009 Konst, Saxnas Galleri, Sweden2008 Taylor Wessing Prize, National Portrait Gallery, London2008, 2006, 2004, 2002 Bacardi Limited Biennial, Bermuda National Gallery2008 The World is Flat, Galleri G, Lund, Sweden2007 Atlantic School, Masterworks Museum of Bermuda Art2007 S&M, Kaleidoscope Arts Foundation, Joint exhibition2006 Bermuda Professional Photographers Association Biennial, Bermuda Society of Arts2005 Two, Bermuda Society of Arts2005 Brick Lane, Interim Gallery, Bermuda2002 Local, The Clapham Gallery, London2002 People Places and Things, Galleri G, Sweden2000 Scopophil ia, Westland place Gallery, London

LOUISA BERMINGHAM FLANNERY Bermudian, b. 1972

EDUCATION1996 MA, Rhode Island School of Design1994 BFA, Rhode Island School of Design 1990 Fine Arts Diploma, Bermuda College

EXHIBITIONS2008 Group Exhibition, Kaleidoscope Arts Foundation 2008, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery2005 Birds and Botanicals, Masterworks Rose Gallery2003 New Drawings, Bermuda Society of Arts 2002 Contemporary Art, Bermuda National Gallery2002 Visions International, Art Center Waco, Texas2001 New Works, Masterworks Museum of Bermuda Art2000 Bits and Pieces, Bouquet Garni Gallery, Bermuda

JOHN BATTERSBEE Bermudian, b. 1946

EXHIBITIONS2009 Milton Hil l & Students, Bermuda Society of Arts2009 Mindframe, Bermuda Society of Arts

I am a semi-retired house painter and musician. In 1980, I founded the Paget Football Club, and was the head of a martial arts school, which was held at the Admiralty House from 1975-1980. Currently, I am a volunteer for the Mirrors Programme. I have always shared a keen interest in helping young people, primarily due to my assorted background. I found this to be a great opportunity to share my knowledge and life experiences, in hope of helping someone to make a better l ife for him or herself.

I have not had any formal art schooling but found it as a natural talent. My love for drawing has led me not only to composing numerous drawings but to also enter this exhibition and to obtain a better understanding of the art.

WILLIAM COLLIESON British/ Bermudian, b. 1946

EDUCATION1965 Wallasey School of Art, UK

EXHIBITIONS2009 Recent and Current Works, Bermuda Society of Arts, Joint Exhibition2008 Group Exhibition, Kaleidoscope Arts Foundation, Bermuda2008, 2006, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery1999 Recent Work, Bermuda Society of Arts, Joint Exhibition1996 Solo Exhibition, Masterworks Foundation1996 Solo Exhibition, Gallery Henoch, New York

JAMES COOPER Bermudian, b.1965

EDUCATION1986 The University of Virginia

EXHIBITIONS2010 Six New Photographers, Shoreditch 51, London 2010 Without Sun Journal#1, galleri Stork, Oslo, Norway2009 SenaSaktions, Primo Piano Gallery, Lecce, Italy 2009 I Wish, The Outlook, Shanghai, China2008 Juxtapoz, Los Angeles, California2008 New York Photo festival 2008 Exhibition C, Masterworks Museum of Bermuda Art2008 Exhibition B, Kaleidoscope Arts Foundation, Bermuda

GRAHAM C. FOSTER Bermudian, b. 1970

EDUCATION1989-90 The Blackheath School of Art1990-91 Bermuda College, Dipolma in Fine Art1991-93 The Museum of Fine Art, Boston, BFA

EXHIBITIONS2009 The Hall of History mural, Commissioner’s House, The Bermuda Maritime Museum2009 Charman Prize Competition (Winner), Masterworks Museum of Bermuda Art2006, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery2004 Ace Gallery, Bermuda, Solo Exhibition

56.

ANTOINE A.R. HUNT Bermudian, b. 1967

EDUCATION1998 Pinhole photography workshop, Greece1997 Lived in Mexico six months working in marble, bronze, sandstone silver, 8x10 fi lm1994,1993,1992 Bronze sculpture at the Instituto San Miguel, Mexico, 8x10 fi lm1987 Bermuda College Certif icate in Electronics

EXHIBITIONS2008, 2006, 2002 Bacardi Limited Biennial, Bermuda National Gallery2004 Hamilton by Night, Harbour Room, No. 1 Shed, Solo Exhibition2004 Bermuda Society of Arts, Solo Exhibition

N. CHRISTINA HUTCHINGS Bermudian, b. 1953

EDUCATION1983 M Arch, University of Virginia1976 BFA, Painting, Tyler School of Art, Philadelphia

EXHIBITIONS1990 Invited Group Show, Marymount Manhattan College, New York1989 Invited Group Show, CUNY, New York1988 Interior/Exterior: Four Visions, Sharon Arts Center, New Hampshire1978 Small Works, Grey Art Gallery, New York University1977 The Three Nancys, Bermuda Society of Arts1976 Bicentennial Exhibition, Moore College of Art, Philadelphia1974 Selected Student Work, Tyler School of Art in Rome

KATHERINE HARRIOTT Bermudian/Canadian, b.1953

EDUCATION2001 MEd, Acadia University, Nova Scotia1999 BA, Carleton University, Ontario

EXHIBITIONS2009 4 Centuries: Evolving Art, Bermuda National Gallery 2009 The Ties That Bind, Til l Death Do Us Part, Bermuda Society of Arts2009 Cultural Memory: Transdiasporic Art Practises, Woman Made Gallery, Chicago2008 Charman Prize Competition (Winner), Masterworks Museum of Bermuda Art2008, 2006, 2004 Bacardi Limited Biennial, Bermuda National Gallery2007 Monotype Prints, Bermuda Society of Arts2005 International Exhibition, San Diego Art Institute2003—2009 Various Members’ and Invitational Exhibitions at Bermuda Arts Centre at Dockyard, Bermuda Society of Arts & Kaleidoscope Arts Foundation

JOHN A. GARDNER Bermudian, b. 1958

EDUCATION1981 Rhode Island School of Design

EXHIBITIONS2008, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery1978 Bermuda Society of Arts, Solo Exhibition

SCOTT HILL Canadian, b. 1963

EDUCATION2003 Canadian School of Photography, Toronto1982 Ontario College of Art & Design, Toronto

EXHIBITIONS2009 Bermuda Professional Photographers Association Biennial, Bermuda Society of Arts2008 Tech Art Exhibition, Bermuda Society of Arts2008 Three Crabs in a Bucket: Sea Inside, Kaleidoscope Arts Foundation, Bermuda2008, 2006 Bacardi Limited Biennial, Bermuda National Gallery2006 Pixels & Poems, Bermuda Society of Arts and Bermuda College2006, 2005, 2004 Members’ Exhibitions, Bermuda Society of Arts

CHARLIE GODET THOMAS British/ Bermudian, b.1985

EDUCATION2006 Diploma in Foundation Studies, Wimbledon School of Art, London2009 BA (Hons) Fine Art, Manchester School of Art, Manchester

EXHIBITIONS2009 MMU Degree Show Grosvenor Building, Manchester 2009 Three Years Later, Victoria Baths, Manchester2009 Exhibit 3, Grosvenor Exhibition Space, Manchester 2008 Bacardi Limited Biennial, Bermuda National Gallery2008 Hexagon, The Link Gallery, Manchester2007 Tactile, Bermuda Society of Arts

58.

ALAN C. SMITH Bermudian, b.1965

EXHIBITIONS2008, 2006 Bacardi Limited Biennial, Bermuda National Gallery2007 TECHART Show, Bermuda Society of Arts2005, 2003, 2002 Computer Generated Art, Bermuda Society of Arts2004 Retrospective, Mail Art, Visual Poetry, Kaleidoscope Arts Foundation2004 Silhouettes and Shadows, The Bermuda Arts Centre at Dockyard2001 Wavelengths, The Bermuda Arts Centre at Dockyard

BRYAN RITCHIE Canadian/ Bermudian, b. 1969

EDUCATION1995 MFA, University of Colorado at Boulder1993 BFA, University of Windsor, Ontario

EXHIBITIONS2006 Nebraska Gallery Series, Gallery 239, Chadron State College, Nebraska 2006 Seemingly Innocent, Schwalbach Gallery, University of Wisconsin-Baraboo2005 Nebraska Prints, Bellevue University, Nebraska 2000 Works on Paper, Emison Art Center, DePauw University, Indiana

KEVIN MORRIS British/ Bermudian, b.1974

EXHIBITIONS2009 Contemporary Conversations: Kevin Morris, Bermuda National Gallery2009 4 Centuries: Evolving Art, Bermuda National Gallery 2009 Winter Show, Estudio, Kifissia, Athens2008 African Affinities, Bermuda National Gallery2008, 2006, 2004, 2002 Bacardi Limited Biennial, Bermuda National Gallery2007 Recent Works, Bermuda Society of Arts, Solo Exhibition 2006 Winter Exhibition, The Christiana Carellas Gallery, Nea Psychiko, Athens,Greece 2005 Summer Show, Bermuda Society of Arts2004 Alexander Clayton Gallery, Stratford-upon-Avon, England, Group Exhibition2004 The Gallery, Stratford-upon-Avon, England, Juried Exhibition2003 Primary Colours, The Bermuda Arts Center at Dockyard, Joint Exhibition with Edwin Smith2002 Artists Up Front Street, Masterworks Museum of Bermuda Art, Solo Exhibition2001 K.O.R. Gallery, Ontario, Canada, Group Exhibition

BILL MING Bermudian, b. 1944

EDUCATION1980 BA (Hons) Maidstone College of Arts, Kent

EXHIBITIONS2009 Sculpture & Collage, Galerie, Newark on Trent, Solo Exhibition2009 32’N/64’W A Revelation, Masterworks Museum of Bermuda Art, Group Exhibition2005 From Ship to Shore, Bermuda National Gallery, Solo Exhibition2004 Voices From Da Wood, Art Exchange Gallery, Nottingham, Solo Exhibition2004-06 Memorial for Those Lost at Sea, St David’s, Bermuda

IAN MACDONALD-SMITH British/ Bermudian, b. 1964

EDUCATION1984 Acadia University, Nova Scotia1983 Bermuda College

EXHIBITIONS2008 Simply Abstract, Suite 12G, New York, Solo Exhibition2008, 2000 Photographers Group Show, Bermuda Society of Arts2008, 2006, 2004, 2002, 2000 Bacardi Limited Biennial, Bermuda National Gallery2008 Charman Prize Competition, Masterworks Museum of Bermuda Art2007 Photographic Competition, Bermuda Society of Arts2003 The Art of Light and Shape, Olympus Digital Exhibition, New York, Chicago, Toronto2002 Digital America, Olympus Digital Exhibition, New York, San Francisco, Hawaii2001 Worlds Within Worlds, Olympus Digital Exhibition, New York, Chicago, Hawaii2000 The Digital Photography Exhibition 2000, Park Avenue, New York

SUNELL LOMBARD South African, b. 1983

EDUCATION2008 MPhil, University of Stellenbosch, South Africa2006 BFA, University of Stellenbosch, South Africa

EXHIBITIONS2010 Charman Prize Competition, Masterworks Museum of Bermuda Art 2009 Gallery 400, Bermuda Society of Arts 2009 Tech Art Exhibition, Bermuda Society of Arts 2009 This is Bat Country, Bermuda Society of Arts, Solo Exhibition 2008 Members Show, Bermuda Society of Arts2008 Master’s Degree Exhibition, US Gallery, Stellenbosch 2005 Final Exhibition at the US Gallery in Stellenbosch, South Africa 2005 Section 53 Student Exhibition at the US Museum in Stellenbosch, South Africa

CHARLES ZUILL Bermudian, b. 1935

EDUCATION1984 PhD, New York University1969 MFA, Rochester Institute of Technology, New York1958 BA, Atlantic Union College, Massachusetts

EXHIBITIONS2009 National Art Club, New York, Group Exhibition2009 Recent and Current Works, Bermuda Society of Arts, Joint Exhibition2008, 2006, 2004, 2002 Bacardi Limited Biennial, Bermuda National Gallery2006 Charles Zuil l Retrospective: The Science of Art, Bermuda National Gallery2004 Box Factory, St. Joseph, Michigan, Solo Exhibition

60.

MICHAEL WALSH Bermudian/ British, b. 1976

EDUCATION2004 MFA, Duncan of Jordonstone College of Art and Design, Dundee University, Scotland2000-2002 Additional Fine Arts courses, Mount All ison University, New Brunswick1998 BFA, Mount All ison University, New Brunswick

EXHIBITIONS2009 Buoyancy, Kaleidoscope Art Foundation, Bermuda, Solo Exhibition2009, 2008 Charman Prize Competition, Masterworks Museum of Bermuda Art 2007 The Weight of Being, Bermuda Society of Arts, Solo Exhibition2003 Master’s Expo, Cooper Gallery and Generator Gallery, Dundee, Scotland2003 Wearers of the Rodger Daltrey Cape Unite, Cooper Gallery, Dundee, Scotland2002 Young Sculptors, Moncton Public Library, New Brunswick, Canada2001 Le Salon des Refuses, Struts Gallery and S.T.A.R.T. Gallery, Sackvil le,New Brunswick1998 Graduate Exhibition, Owens Art Gallery, Sackvil le, New Brunswick

THE EXHIBITION SEEKS TOREPRESENT ARTWORK THAT

CHALLENGES THE TRADITIONALAND CONTINUES TO DRIVE

RADICAL AESTHETIC INNOVATION.

Sophie Cressall

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MEREDITH ANDREWSWalls, 2009digital photograph24 x 36 in.Collection of the artist

MEREDITH ANDREWSJohny, 2008digital photograph36 x 24 in.Collection of the artist

MEREDITH ANDREWSGuards, 2009digital photograph24 x 36 in.Collection of the artist

JOHN BATTERSBEELife’s Pulse, 2009pen and pencil18 x 23 in.Collection of the artist

JOHN BATTERSBEEGuardians, 2009pen and pencil22 x 281/4 in.Collection of the artist

LOUISA BERMINGHAM FLANNERYUntitled (Hairy Bear as Frida), 2008hair, acrylic, fabric, ink6 x 4 in.Collection of the artist

LOUISA BERMINGHAM FLANNERYShe Felt the Eyes of Others, 2009ink, gouache, water soluable graphite, hair6 x 4 in.Collection of the artist

LOUISA BERMINGHAM FLANNERYHairyBear Complete (Parts 1 - 9...She felt trapped, She was a host, She couldn’t believe her ears, Sometimes She needed to cry, She felt great, She was the little red hen, She felt like dirt, Shecontemplated growing a beard, She had a puncture in her foot), 2009mixed media4 x 5 ft.Collection of the artist

WILLIAM COLLIESONFrom the Outside Looking In, 2008mixed media72 x 144 x 4 in.Collection of the artist

JAMES COOPERHelmut Sculpture #1, 2009digital photograph43 x 60 in.Collection of the artist

JAMES COOPERHelmut Sculpture #2, 2009digital photograph43 x 60 in.Collection of the artist

GRAHAM C. FOSTERSeas of Europa, 2009-10plywood, enamel, nylon12 x 12 x 12 ft.Collection of the artist

JOHN A. GARDNERAfter the Party, 2008Bermuda stone, cement plaster, Plaster of Paris, candles12 ft x 12 ft x 12 in.Collection of the artist

JOHN A. GARDNERScuba Tank, 2009photograph on lightbox8 x 12 x 8 in.Collection of the artist

CHARLIE GODET THOMASThere is a Time and a Place, 2009film25 in. screenCollection of the artist

CHARLIE GODET THOMASThose Times Seemed One, 2009digital photograph13/5 x 83/10 in.Collection of the artist

KATHERINE HARRIOTTThe Ties That Bind, 2009mixed media57 x 15 x 10 in.Collection of the artist

SCOTT HILLAcrobat Forest, 2009digital photograph32 x 32 in.Collection of the artist

SCOTT HILLUntitled, 2009digital photograph66 x 44 in.Collection of the artist

ANTOINE A.R. HUNTPickled 4, 2009toned and tinted cyanotype on paper45 x 30 in.Collection of the artist



N. CHRISTINA HUTCHINGSLost, Found & Whistle, 2009gouache, pencil, string, whistle17 x 11 in.Collection of the artist

N. CHRISTINA HUTCHINGSBermuda Map, 2008gouache, pencil, string on paper60 x 100 in.Collection of the artist

SUNELL LOMBARDBus Slaves, 2009oil on canvas14 x 29 in.Collection of the artist

SUNELL LOMBARDPontius Attacks the Cookie Stack with Utter Disregard for the Self-loathing That Is Sure to Follow, 2009oil on canvas11 x 14 in.Collection of the artist

SUNELL LOMBARDThe Proposal, 2009pen, ink, gouache on paper151/4 x 281/2 in.Collection of the artist

IAN MACDONALD–SMITHWC. Amsterdam 1793, 2009digital photograph33 x 50 in.Collection of the artist

IAN MACDONALD–SMITHWC. Meersburg 550, 2009digital photograph33 x 50 in.Collection of the artist

BILL MINGHands Across Da Table (Pass It On)2008-09mixed media38 x 62 x 3 in.Collection of the artist

KEVIN MORRISJack and Vincent, 2008acrylic on canvas35 x 34 in.Collection of the artist

KEVIN MORRISBasquiat, 2008acrylic on canvas32 x 23 in.Collection of the artist

BRYAN RITCHIEBad Intentions, 2009monotype24 x 18 in.Collection of the artist

BRYAN RITCHIEDeceptive Touch, 2009monotype24 x 18 in.Collection of the artist

BRYAN RITCHIETruth Seeker, 2008lithograph201/2 x 23 in.Collection of the artist

ALAN C. SMITHLucifer: The Burning Key, 2008digital photograph36 x 23 in.Collection of the artist

ALAN C. SMITHSurvivor of the Flood, 2009digital photograph36 x 23 in.Collection of the artist

ALAN C. SMITHAngel G: Manisfestation, 2008digital photograph23 x 36 in.Collection of the artist

MICHAEL WALSHLove, 1 cent, 2009performance60 x 60 x 60 in.Collection of the artist

MICHAEL WALSHEvoking Nothing, 2008cardboard87 x 174 x 174 in.Collection of the artist

CHARLES ZUILLSpume, 2008mixed media22 x 30 in.Collection of the artist

CHARLES ZUILLGreen Space, 2008mixed media38 x 521/2 in.Collection of the artist

BERMUDA NATIONAL GALLERYCITY HALL & ARTS CENTREHAMILTON, BERMUDA

(441) 295-9428 • www.bng.bm • [email protected]

Documents

Bacardi Limited Biennial of Contemporary Bermuda Art 2010 Catalogue