The Speightstown Mural Project

April 2012

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1. History Of The Speightstown Enhancement Project Speightstown has had a glorious past, but today it’s like the victim of a ghastly motor vehicle accident - smashed up, but still just alive; it’s lost a couple of limbs, other bones broken to bits, with clumsy efforts at repair, and bloody bruises everywhere. Fortunately, many people still love this historic little town, live there, work there and nurture their soul there, and will do anything honest to restore its former glory. One such person is “naturalised” Bajan Pierre Spenard.

Speightstown is named for an early settler called William Speight, who owned the land where the town started, and was a member of Governor Henry Hawley’s first “hand picked” Parliament in 1639. But in the first known map of Barbados, John Swan’s map of 1640, published in Richard Ligon’s True and Exact History of the Island of Barbados in 1657, it’s actually shown as Spyke’s Bay, and that’s how we’ve pronounced it ever since – as Spyke’s Town!

It’s the site of Barbados’ only invasion, by Sir George Ayscue and the Bajan Cromwell supporter Colonel Alleyne, in December 1651, resulting in a battle on the beach with the local Royalist supporters, and resolved, after another fracas at Oistins, with the Charter of Barbados (January 11th, 1652).

For a long time Speightstown was known as Little Bristol, because of its rich trade with Bristol. It was also the site of departure of the Anglo-Bajan settlers of the Carolinas, conceived by Sir John Colleton and led by his buddy, Sir John Yeomans of Nicholas, in 1670. But modernisation and motor transport led to its dramatic decline after World War 2, and decay and derision of the historic have made things worse.

Most of the magnificent town houses on Church Street are now, sadly, demolished. On the sea on Queen Street, stands the Queen of Speightstown – the handsome decaying Georgian building Galena. This was once the Post Office and Telephone Exchange, where Professor Henry Fraser’s mother, Lorraine Watson, was postmistress in the 1930s and her sisters the telephone operators. It later became the Library. For 20 years it stands forlorn, weeping for Speightstown.

To the south is Arlington, now the Museum of Speightstown; almost demolished in building the Bank next door, it was splendidly restored through the efforts of Paul Altman, past President of the National Trust, and generous donors.

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Opposite Arlington is Mango’s by the Sea Restaurant (first site of the Alexandra School). Mango’s is an oasis. The tenant, Pierre Spenard, has transformed the entire length of Speightstown beach with beautiful landscaping with exotic plants, big boulders and a splendid, paved walkway – almost a kilometre along the beachfront and towards Denmark Fort. It’s all been achieved by Pierre’s determined vision, with financial help from citizens and patrons, to restore Speightstown’s unique charm.

The piece de resistance of the new vision is a magnificent mural on Jordan’s warehouse wall, 80 by 20 feet, visible from the entire beach, by world famous muralist John Pugh of California, with help from local artist Don Small. John has painted murals all over the USA, and from Honolulu to New Zealand –mind blowing, giant paintings, seen on the web. The mural was recently completed after two years planning and creation and months of amazing work by the artist John, assisted by local artist Don Small. Pierre’s vision, interpreted by John, has been to evoke the geology of Barbados and the wonder of Harrison’s Cave on this ancient, battered wall. So the giant caves of coral limestone, with stalagmites and stalactites, is the backdrop for the story of Barbados. A bridge represents our thousands of years, from pre-history, through the age of the indigenous Arawaks to modern times.

The artist depicts our symbols and people - Arawaks, slaves and slave ships, the bearded fig tree and Christianity; Errol Barrow appears, breaking the trident and claiming Independence. We see Morgan Lewis, the old railway and the fishing boats; Sir Grantley Adams, the golf courses, the University and the young cricketers like Sir Garfield Sobers; and the loss of land to houses; and so much more.

As Government seeks to diversify, and enrich the “Barbados Brand” while evoking our rich cultural heritage, restoration of Speightstown is A MUST! It will have a great multiplier effect, where the tourism dollar permeates the wider society.

The rejuvenation of Speightstown will strengthen the tourism product and bring enormous social and economic benefits to the North.

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2. Passion, Innovation And Entrepreneurship STORY OF THE MURAL By Pierre Spenard

(THIS is the short version of how the mural project was established, as told by Pierre Spenard, proprietor of Mangos-by-the-sea restaurant who boldly conceived it and directed its fine execution.)

He writes:

THE FACE of Speighstown remained unchanged for all of my 18 years living here; and before that. Its forlorn state invites people with a heart to take charge. It said to me if I want improvements around me; it was up to me to get started.

I sincerely felt that the town needed a change if it was to have a future; it needed those of us who live and use it, to restore its attractiveness, its pristine glory. It needed new businesses, not “going out of business” signs.

I felt it needed something that all of us could identify with, rally around and start the common goal of a Speightstown renaissance.

The vision of a mural came at a time when my three sons were drifting at sea for over nine hours. The vision was of a national monument that depicted those things in our past that made Barbados a distinctive island: A great story deserved a great mural.

I obviously saw the sea and sun, but I also saw a need to express the emotion behind Errol Barrow taking the broken trident from Neptune and clawing back this land, our land, and creating an independent Barbados.

Staring at a blank wall of a broken ruined building and a beach that could no longer resist relentless erosion, I saw the inspiring figure of Barrow inviting all to assert ourselves and to say enough of the old, the dilapidated, the loss of our inheritance to speculating land owners. Arise and do something!

Thus my swan song created out of three years of long agonising 20-hour days.

I neglected my business and focused on trying to achieve for Speightstown and all Barbados, hoping that ultimately the business too would benefit.

I have operated Mangos-by-the-sea restaurant since November 1995. We have had great years in the nineties and through the growth years leading up to 2008. All with just 17 tables and wonderful support staff.

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Having a passion for the town that had become my home, I sought to increase my revenues through improved traffic, and so I began renovating my immediate surroundings and applied to the National Conservation Commission’s adopt-a-beach programme as beach erosion had reached alarming proportions. I wanted to protect the building I was renting and the business I owned, so I invested in boulder work which was so beautifully executed I was inspired to take it beyond my property both to the south and then the north.

The excitement and momentum followed. I was able to persuade my neighbor to the south, Mr. Audley Jordan to give a right-of-way and set back his fence seven feet to allow a never-before connecting pathway to the beach at Speightstown. Mr. and Mrs. Chris Donald and Mr. Jordan himself chipped in to secure the boulder protection.

But the warehouse wall was awful to look at – unsafe and derelict. It had to be transformed if the reclaimed land and the walkway were to be of value to users of the beach. Thus began the architectural marvel of today.

I searched Barbados for local artists to create the mural.

The conclusion was not reassuring. I felt I would never achieve my vision for want of the talent to execute it.

Then, on the suggestion of Senator Professor Henry Fraser I learned of John Pugh and his marvelous work worldwide. I looked up his web site and called him and he suggested that I write.

I did. I compiled a 94-page novel with pictures! I asked him to consider my project. In this way I elbowed out of the way other mural projects on his calendar, claiming pole position.

He and I exchanged over 200 emails and he asked to see it for himself. He visited in June 2010, did research on the island’s history and landscape; we then shortlisted Barbadian artist Don Small as local support and collected data to begin the storyboard which he drafted in his home in the hills of California.

The rest is now not just history, but a fabulously painted 20ft by 80ft photo-realistic mural for all to admire and own.

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3. The John Pugh Trompe L’oeil Mural Mural entitled: Bridge of Tides

Medium: Acrylic on non-woven-media

Artist: John and Annie Pugh, assisted by Don Small

Date of Completion: April 12th 2012 As a conceptual trompe l’oeil public mural artist from Northern California. It’s been an honor to create this largest mural to date in the Caribbean. When contacted by Pierre Spenard - an advocate for the historical rejuvenation of Speightstown - about a potential mural project, I visited Barbados primarily for research, and understanding that this project would create not only a “sense of place” but a pride of ownership for this community, and a world class attraction for the only remaining town in Barbados to have it’s architecture still reasonably intact (although decaying). When developing the concept of this project after visiting and making connections through too many individuals to keep concise — which includes the incredible support from Bajan Ferdinand Hinds and corresponding with Doctor Henry Fraser - I have come to realize how important the history of Barbados, and the significance of this original port of Little Bristol project was to Pierre. As demonstrated on the bridge with in the mural, I’ve focussed on a summary history of Speightstown, as well as an overview of the history of the island. This includes indigenous peoples — mainly the Arawaks and the preceding “Amerindians” that thrived here for over 2,000 years. Like reading from left to right, the time line continues to present day. The use of Harrison Caves - and the prayer alter there - provides the geological / spiritual history, and the depiction of the Green Monkeys that were originally brought over from Africa as the slave’s pets, are in their social system providing a primatology of the island. Through the use of illusion I felt that creating an architectural anomaly a - scene that looks like large chasms in the wall, and not a usual mural - would attract a more universal crowd of “being tricked”. As a public art language, this seems to

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delight most viewers, and invite even the non-art community into the concept along with discovery layers that unveil the roots of this place. If Speightstown is a tree, then the locals need to connect with the roots for the tree to grow. As a surrogate viewer, Karl Broodhagen, the artist that sculpted the public sculpture of Bussa, is depicted in the mural as a “viewer” of the bridge mural, and as a time continuum of a hopeful future support to public art here.

4. The Speightstown Enhancement Trust Fund On January 18th 2012, the Speightstown Enhancement Fund Trust was been established and registered as a Barbados Charity (#906), to provide support and raise funds for this magnificent historic mural, and to undertake further activities to encourage the development of Speightstown as a Heritage Tourism site. The Trustees are Harold Hoyte (chairman), Peter Boos (treasurer), Clyde Sobers, representing the BWU Credit Union (secretary) and Professor Henry Fraser.

5. Funding The Vision In a time of a prolonged, deep recession, asking for financial support is a challenge. That said, we must nevertheless do it as this is an important long term and important iproject for Speightstown.

Donations are fully tax deductible (see 6 below).

The Barbados tourism sector is experiencing a very challenging period. Just next-door The Almond Beach Village will close its doors on 30 April 2012 that in the short term at least will negatively impact the Speightstown community.

These times call for innovation and resilience and confidence that we can change and build a much brighter future.

The final cost of the mural project including its immediate environs (boardwalk improvement, beach boulders, lighting, signage etc) is expected to be in the vicinity of US$175,000 of which US$150,000 is for the artists’ work and associated expenses.

To date we have raised US$125,000 through sponsorships and donations.

Our immediate target therefore is to raise US$50,000 to settle creditors and complete the signage etc.

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Since SEFT vision is the further enhancement of Speightstown all funds raised will be used towards that end. This may include extension of the boardwalk etc.

The Trustees will be issuing audited figures for the project soon with full details of the costs incurred and sources of funding.

6. Tax Deducibility Where a settlement under subsection (1) is made to a registered charity and

(a) The settlement is Bds$1 million or less, in calculating the assessable income of the settlor for that income year, there shall be deducted from the income of that settlor, the amount of the payment made or the market value of the property transferred, as the case may be, in that income year; but the deduction shall not exceed 10 percent of the amount that would, but for this section, form part of the assessable income of the settlor;

(b) The settlement exceeds $1 million, in calculating the assessable income of the settlor, there shall be deducted from the income of that settlor, the amount of the payment or the market value of the property as the case may be, over a period of 5 income years; but the deduction in any income year shall not exceed 50 per cent of the amount that would, but for this section, form part of the assessable income of the settlor.”

7. Project Costs Summary US$ Payments to artists and associated costs 150,000 Preparation of wall, pavements and walkways 19,000 Signage 6,000

Total 175,000

8. Call To Sponsorship Action

(a) Adopt a tile The mural, the largest piece of art in the Caribbean, is 80 feet by 20 feet i.e. it is 1,600 sq ft. in total

We are inviting 400 hundreds sponsors to ‘adopt a tile’ of 4 square feet of the mural at a price of US$500.

A plaque with all tile sponsors will be erected beside the mural.

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(b) Corporate Sponsors -­‐ Platinum US$10,000 -­‐ Gold-US$7,500 -­‐ Silver-US$5,000 -­‐ Bronze-US$2,500

All corporate sponsors will be recognized at the site of the mural and in all public communications (e.g. website and Facebook)

About John Pugh

John Pugh: Artist Statement I am a conceptual trompe l’oeil artist focusing primarily on public art. I have found that the “language” of life-size painted illusions allow me to communicate with a very large audience. It seems almost universal that all people take delight in being visually tricked. Once intrigued or bonded by the illusion, the viewer may easily cross the artistic threshold and is invited to explore the concept of the piece. I have also found that by creating architectural illusion that integrates with the existing environment both optically and aesthetically, the art transcends the “separateness” that public art sometimes produces.

Yet I believe that public art should not always be created in a way that is commonplace; that public art “thinks out of the box”. When developing a concept, I, along with art-manifested communities - both from my studio and artists from the site area - respond to aspects of the location with innovative eyes.

Often, I like to play with local natural environments, cultures (including all indigenous peoples), history, even the architectural style, and contrasting them with other styles, events, culture, and times. I enjoy creating a visual journey that departs from the expected.

To create a crisp experience we can also combine different art forms while maintaining the thread of trompe l’oeil within the composition. Having contrast of more expressive yet more two-dimensional forms of art actually heightens the trompe l’oeil effect. The possibilities are limitless. By also closely observing the subtle hidden things in reality - light, shadow, reflection, hue shifts – the painted illusion gets past the sentries of our minds that tell us what is real and what is not – and the effect becomes magic.

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The project must create a unique sense of place, and possess the ability to tether the humanity from the vicinity of its display. The mural palette would include cultural and historical aspects of the location, serve to educate or inspire possibilities, and should ‘elevate rather than alienate’. By composing in this way, it engenders a unique pride in the community.

It is important for me to intuitively formulate concepts based upon a multitude of viewpoints. I believe that we as artists must openly share ideas, create a global community, and continually be aware that public art is a paramount responsibility. It can serve as a bridge between diverse cultural differences, teach and inspire youth and all locals about their own heritage and their potential as freethinking human beings. It can introduce the viewer to new ideas and new possibilities about their own personal life paths.

By keeping the trompe l’oeil thread included in the design, it becomes an attraction for all members of the area without loosing its appeal to the fine art community. By keeping the mural layered with wisdom and innovation, it produces a fabric that conjures fresh feelings and perceptions. It infuses to create a deep sense of place. Yet it is vitally nostalgic, for it’s a tapestry woven from the past, while including contemporary elements and approaches of the present and the future.

John Pugh: Resume (Partial Listing)

Mural Commissions 2011 Racing Sailboat Mural Project – New York, New York

Taranaki Gardens Mural Project – New Plymoth, New Zealand Speightstown Mural Project – Speightstown, Barbados Universal Studios – Japan Beach Boardwalk – Santa Cruz, CA Assumption Church – Truckee, CA Sacramento Water Tank Project, Sacramento Arts Commission, CA

2010 Westside Recreation Centre, Calgary Arts Commission - Calgary, Canada

United Oil – Pacific Palisades, CA Alameda Funeral Home – Saratoga, CA Pepsi Cola International - New York, NY Skyline College, Art in Public Places – Burlingame, CA

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2009 Santa Cruz Redevelopment Agency – Santa Cruz, CA Aquatic Center, City of Fremont Arts Commission – Fremont, CA Del Oro Theater, Redevelopment Agency, Grass Valley, CA

2008 Mana Nalu Plaza, Honolulu Arts Commission - Honolulu, HI Madera Police Station - Madera, CA

Juvenile Hall Visitors Lobby, Sacramento Metropolitan Arts Commission, CA

2007 Dimond High School, Anchorage Arts Commission – Anchorage, AK Star Reacher, Private, Carmel, CA

2006 Downtown Breezeway, Chandler Arts Commission – Phoenix, AZ Wonder Works Science Museum, Gatlinburg, TN Palo Alto Medical Foundation (Two Projects)– Palo Alto, CA

2005 Rotorua Public Library, Arts Commission – Rotorua, New Zealand Sarasota Health Department, Florida Art in State Buildings – Sarasota, FL

2004 Bishop Mural Society (two projects) – Bishop, CA Crossroads Mural Project, Dublin Arts Commission – Dublin, CA

2003 Mainplace Merced, Redevelopment Agency – Merced, CA Berryessa Community Center, San Jose Arts Commission – San Jose, CA

2002 El Camino Hospital – Mountain View, CA Opa Locka Health Services, Florida Art in State Buildings – Miami, FL Hayward City Hall, Hayward Arts Commission – Hayward, CA

2001 Debra Winger - (private) New York, NY Global Mural Conference Project – Twentynine Palms, CA

2000 University of North Florida, Florida Art in State Buildings – Jacksonville, FL

Levi Strauss – Dayton, NV & Jacksonville, OR 1999 University of Alaska, 1% For Art Commission – Fairbanks, AK

Kaiser Permanente Hospital – Santa Clara, CA Victor Valley College Library, Arts Commission – Victorville, CA 1998 Standin’ on a Corner in Winslow, Arizona Park – Winslow, AZ

Downtown Breezeway, South San Francisco Arts Commission, CA Barbi Benton – (private) Honolulu, HI

1997 ICTV, California Design International – San Francisco, CA

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Silicon Graphics, Inc. – Mountain View, CA 1996 - 1980 Pleasant Company – Taipei, Taiwan

Park Meadows Shopping Center – Denver, CO County Parking Facility, Sacramento Metropolitan Arts Commission, CA Stanford Shopping Center, Stanford University – Palo Alto, CA California State University, Chico

Awards Distinguished Alumnus – California State University, Chico,

Master Muralist – San Francisco, CA,

Most Successful Mural Artist – California Mural Symposium 2006

Publicity John Pugh has completed over 250 murals, and his work has appeared in articles / media world wide including Time, Artweek, L.A. Times, New York Times, USA Today, Good Morning America, London Sun and Mail, Tokyo Mainichi, BBC World News, Art Business News, Public Art Review, Southwest Art, and San Francisco Examiner.

The book - The Murals of John Pugh; Beyond Trompe L’oeil – Random House, is available at Barnes and Noble.

Phone: 408 835-4341

Tahoe Studio: 10725 Chickwick Reach, Truckee, CA 96161

Los Gatos Studio: P.O. Box 1332 Los Gatos, CA 95031

Email: artofjohn@gmail.com

Website: www.artofjohnpugh.com