Mother Tongue selected as winners in the apexart Franchise Program 2015-16

apexart has announced the four winning proposals for its Franchise Program 2015-16, which accepts ideas for group exhibitions to be presented anywhere in the world. Among this year’s winners is Mother Tongue, the curatorial duo of Tiffany Boyle & Jessica Carden, who undertook a residency at Fresh Milk in January-February 2015. The four winning proposals receive a budget and administrative support to bring their projects to life in locations outside of New York City. 


Mother Tongue’s Submitted Proposal:

In July 1996, an archaeological team were called to a construction site at Pierhead docks, in Bridgetown, Barbados. Clearing the ground for the planned expansion of a shopping mall, a mass grave of human remains were uncovered. Tests concluded that the site was a burial ground for African slaves; those who had either died in the final stages of the Middle Passage, too close to shore to be thrown overboard, or those brought to Barbados for ‘seasoning’ – to be broken into the life of the plantocracy, before being moved onto other Caribbean islands. Following a deliberately short period of time for the archaeological dig, the site was covered in concrete, to be used as a car park, with no commemorations or signage to mark the importance of the area.

The hurry to cover over and conceal the site speaks of the continued dominance of the ruling classes’ economic interests over the island’s black population. As locals gathered around the archaeological dig, demands were made for libations of rum to be poured to the ghosts of the deceased and to ‘duppies,’ bad and malicious spirits. That rum was to be poured is laced with irony; since the slaves were brought across in the ships to farm the sugar from which such rum is distilled, but also because the car park is bordered by two empty customs warehouses, where rum would have previously been stored before global export.

This is not the only site of significance for the island’s slave history to be unidentified. This amnesia or selective memory is in many ways mirrored by the local art history and community; unmarked by the absence of a national art gallery and state support. Past activity, developments and successes are lost between generations, with most major Caribbean surveys taking place in the West and links between each generation broken as artists move abroad for opportunities not available on home territory. There are currently only four small and ill-equipped exhibition spaces on the island: two housed within the art college and university, the remainder commercial spaces.


The Pierhead site and old customs warehouses are today disused. This proposal is made for an exhibition and performance, to be held on the Pierhead site in 2016, the year of the fiftieth anniversary of Barbados’ independence and host nation for the second time to the Caribbean-wide annual festival, Carifesta. ‘Rum Retort’ will purposefully run parallel to these official, state-sponsored events. A large group exhibition will be housed inside one of the customs warehouses, concerned with making visible the history of Pierhead within its locality, with works from artists including Nick Whittle; Annalee Davis; Ewan Atkinson; Sheena Rose and Holly Bynoe. A patterned installation print will be commissioned from artist Mark King to be produced directly onto the concrete car park, temporarily acknowledging what lies below. For the opening and closing of the exhibition, a dance performance will be commissioned from dancer and choreographer Yanique Hume, to take place outside the warehouse, on the concrete car park surface.

Read more about the other selected projects here

Please note: Proposals are ideas for exhibitions. No details, including artist participation, have been confirmed. The apexart Franchise Program is supported in part by The Andy Warhol Foundation for the Visual Arts and The Foundation for Contemporary Arts.


Tiffany Boyle and Jessica Carden.

Tiffany Boyle and Jessica Carden.

About Mother Tongue:

Mother Tongue is a research-led curatorial project formed by Tiffany Boyle and Jessica Carden, in response to individual periods of investigation in northern Scandinavia and West Africa. Our practice in exhibition-making intersects with research interests – including, but not limited to – (post)colonialism, language, heritage, ethnicity, whiteness, indigenousness, migration, movement, sexuality, and technology.

Since 2009, we have produced exhibitions, film programmes, discursive events, essays and publications in partnership with organisations such as the CCA: Centre for Contemporary Art Glasgow; Stills: Scotland’s Centre for Photography; Transmission Gallery; Africa-in-Motion Film Festival; Malmö Konsthall; and Konsthall C Stockholm, and undertaken residencies with HIAP in Helsinki, the Nordic Africa Institute in Uppsala, and CreativeLab at CCA Glasgow. ­Mother Tongue participated on the 2011/12 CuratorLab programme at Konstfack, and we are currently both undertaking individual PhD’s – Tiffany at Birkbeck and Jessica at TrAIN: Research Centre for Transnational Art, Identity and Nation, University of the Arts London. In 2015, Mother Tongue will continue to collaborate with Variant magazine, Framework Scotland and the Creative Futures Institute at UWS on the ongoing discussion series, ‘Curating Europes’ Futures.’

Fresh Milk welcomes Willoh S. Weiland and Halcyon Macloed

Fresh Milk is excited to welcome our fifth set of residents for 2015, Australian interdisciplinary artists of Caribbean extraction, Willoh S. Weiland and Halcyon Macloed. They will be with us between April 20 – May 23, 2015 working on their collaborative project ‘Crawl Me Blood’, a sound installation inspired by the works of Dominican writer Jean Rhys and her masterpiece Wide Sargasso Sea. Read more below:

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Willoh S. Weiland and Halcyon Macloed are two artists from Australia who are currently in-residency at the Fresh Milk Platform. During their stay, they are writing and creating a performance and sound work called Crawl Me Blood. As part of their research for the project, they will be conducting a series of interviews with a number of women in Australia and in the Caribbean.

Crawl Me Blood is inspired by the work of Dominican author Jean Rhys, especially her famous book Wide Sargasso Sea, the artists’ own family histories in the Caribbean Region and a feminist reading of the biblical story of Eden.

They are starting their research by focusing on the idea of ‘paradise’; what causes us to long for particular landscapes and how women imagine paradise through creating or visiting gardens,  cooking and eating delicious food. They are especially interested in the way food connects us to memories of people and places.

The artists are inviting members of the public to meet with them and talk about these ideas.  An audio recording of these conversations will be made. Interviews can be anonymous.

Interviewees will be paid a modest stipend. The artists will be in residence from April 20th and open to arranging meetings on Mondays, Tuesdays and Wednesdays between 10am and 5pm.

The artists would like to engage in dialogue with a variety of women, including:

  • Academic/Writer
  • Radio host
  • Performer/ Actor/ Artist
  • Older woman (60 +)
  • Middle aged woman (40+)
  • Younger woman (in her 20s)

If you are interested in participating in this project, please email and

halcyon and willoh

Halcyon Macloed and Willoh S. Weiland.

About the artists:

Willoh S. Weiland (Artistic Director, Aphids) and Halcyon Macloed (Co-Director, My Darling Patricia) are interdisciplinary artists and directors of the independent arts organisations Aphids and My Darling Patricia.

Their mutual interests are in writing and creating contemporary performance works that respond to the site in which they are created and the result of extensive research and development.

They have created works for major Australian Festivals including the Sydney and Darwin International Arts Festivals as well as for prolific presenters such as Performance Space, Carriageworks, Cambelltown Arts Centre, Sydney and the Arts Centre, Arts House and Malthouse Theatre Melbourne.

Malaika Brooks-Smith-Lowe shares her reflection on Tilting Axis: Showing up as Caribbean creatives

Malaika Brooks-Smith-Lowe, artist, activist and co-founder of Groundation Grenada, shares her reflections on the conference Tilting Axis: Within and Beyond the Caribbean – Shifting Models of Sustainability and Connectivity which took place at Fresh Milk on February 27-28, 2015. Read an excerpt from her report below:

Malaika TA report2

‘I think it’s an act of rebellion to be a whole person… It’s an act of rebellion to show up as your whole self, and especially the parts that are complex, that are unfinished, that are vulnerable.’ – Courtney Martin

Two weeks before traveling to Tilting Axis: Within and Beyond the Caribbean – Shifting Models of Sustainability and Connectivity at the Fresh Milk Art Platform in Barbados, I listened to a podcast titled The Inner Life of Rebellion, a conversation which included Courtney Martin. During my presentation at Tilting Axis, about the vision and work of Groundation Grenada, I shared the above quote by Martin. Her reflections on the power of being able to make progress even with full recognition that we are imperfect and always in-the-making resonated with me deeply. It is this kind of ‘showing up’ as a whole complex person that Groundation Grenada seeks to support. As an organization our aim is to create safe spaces for people in our communities to explore the fullness of their experiences and express themselves in an environment that honors our differences. Tilting Axis was a unique moment to connect with founders and directors of initiatives that similarly work to support and enhance the growth of the Caribbean’s vast array of voices & creative visions.

Tilting Axis, held from February 27-28, 2015 aimed to promote greater conversations and engagement between artists and professionals working within artist-led initiatives across the wider Caribbean region, build and redefine historical relationships with those in the North, and establish open dialogue with active networks emerging in the Global South.

The space that the organizers Fresh Milk Art Platform Inc., ARC Inc., Res Artis and Pérez Art Museum Miami were able to create was a rich opportunity for discussing challenges and envisioning collaborative solutions.  They brought together several of the region’s arts initiatives to engage in face to face conversations. Also present were a number of professionals from outside the region interested in working with Caribbean-based initiatives such as Solange Farkas, founder and director of Videobrasil (Brazil), and N’Goné Fall, a founding member of the Dakar-based collective GawLab (Senegal). For a complete participant list and other details read the official post-conference press release (here).

There were many existing relationships and partnerships in the room and many possibilities for new collaborations discussed in formal sessions and during tea breaks. Technology has been an invaluable tool in facilitating the growth of what feels to me like a tangible movement in the region via the visual arts. Being in the same physical space as such a dynamic group of artists, curators, writers and organizers, and being able to have real conversations, was an invigorating experience. We all showed up as our full selves, open to discussing the complexities we are working with and through. It was an intergenerational setting with cross-pollination between organizations that were founded decades ago and seedling organizations that are now taking root and beginning to bloom.

Read the full report on Malaika’s website here.

Cooking Sections’ Residency Blog Post

Cooking Sections, the London-based duo of Daniel Fernández Pascual and Alon Schwabe, share their blog post about their short-term residency at Fresh Milk, where they conducted a number of interviews and meetings with both artists and professionals working across the agricultural sector to inform their research based practice and their ongoing project The Empire Remains. Read more below:

Cooking Sections_cane harvest4

Is this the end of a sugar era? In past years the sugar crop harvest has been delayed further and further into spring. Refusing to start the crop before the government paid farmers for last year’s yields, harvest was postponed this time for about three months, starting during our visit to Barbados on April 7th. Never before had sugar cane harvest started so late, a sign of the great challenges the industry is undergoing. The possibility of a 400 year-history of cane disappearing seems to float around people’s minds, given that there is only one sugar factory remaining operative on the island (Portvale). At the local Massy Supermarket, we encountered on the shelf a box of sugar cubes from an array of sugars all made in the USA, as well as from UK-based Tate&Lyle, a sugar empire that later constituted Tate Britain. More than ever, sugars travel along and back and forth from one side of the Atlantic to the other, changing colour, shape, texture, volume and physical states with every journey: raw, bulk, brown, white, brownish, whitish, golden, bagged, dyed, molassified, syrupised, caramelised, brownified

We learned that Barbados has an average of merely 12 inch deep soil. That extremely thin layer of agricultural ground is not only made out of sediments that the sea once eroded from surrounding volcanic islands and washed forward onto the Barbadian plateau. The soil is made of the remnants of the sugar cane that, unlike the majority of sugar plantations worldwide, are not burnt but accumulated on-site as layers that enhance the quality of the soil through their rotting, while protecting it from heavy rains. The reduction in tonnage of sugar extracted (not produced) from cane also opens new challenges, not only for the sustainable geology of the island, but for tightly related industries such as tourism and Barbadian rum. For the former, visitors need to keep being attracted by the image of undulating Caribbean landscapes covered in cane. For the latter, rum is running out of the local molasses that absorbs all the specific nutrients and minerals from the Barbadian subsoil, raising the question of Barbadianness in a rum more and more made out of foreign sugars. However, is it the molasses that really affects the finished rum product when it is distilled and cleaned from its biological and chemical components in the process of becoming alcohol? Or is it rather the diverse mechanisms of adding value that Barbados, like many other island nation states, tries to establish in order to shift from a historic role of commodity providers to become product owners?

At stake is also a controversial construction of an additional sugar factory. The new $42,000,000 project, promoted by the Barbados Government, aims to transform the no longer operational Andrews Sugar Cane Factory into a multipurpose processing plant. It is not to revive the island’s history but rather to envision a different future. If sugar once replaced the alcohol ration for soldiers in order to extend their operation hours, sugar cane has slowly become a biofuel to provide renewable sources of energy. Time will tell whether the new plant will truly help the national economy or be another example of mismanaging international development aid through needless pharaonic infrastructures that only benefit a few.

Cooking Sections_cane harvest3

Over 10 days of interviews, meetings, conversations and field visits with farmers, researchers, visual arts practitioners, factory managers, and policy-makers, we learnt about the difficulties of post-plantation Caribbeanness and the relationship of a region of island states, more or less disconnected from each other, that are facing similar challenges at planetary scales. That Barbados has only 2 endemic species out of its 650 different plants and that the island is suffering from seaweed invasion cycles coming from the Equator are just two facts that made us reflect on the economy of extraction and the value of nature from a global perspective. Almost 200 years after the abolition of slavery in all territories of British rule, conflicts about race, speculative flows and food sovereignty seem not to be yet fully reconciled with their past.

Announcing the FRESH MILK ‘My Time’ Local Resident Artist 2015 – Simone Asia

Simone My Time 2015

Fresh Milk is very pleased to announce Barbadian artist Simone Asia as the winner of the Fresh Milk ‘My Time’ Local Residency prize for 2015. Congratulations Simone!

Simone’s one-month residency runs from Monday April 13 – Friday May 8, 2015. She sees this period as a “playground for opportunities,” a chance to experiment with surface, scale and technique. She will explore and respond organically to the environment at Fresh Milk to feed the current series of work she has been producing, which is inspired by dreams and reinterpretations of personal experiences.

About Simone Padmore:

Simone Padmore, also known as Simone Asia, is an illustrator who was born on May 2nd, 1990 in Bridgetown, Barbados. From 2006-2011, Simone attended the Barbados Community College (BCC) where she received her Associate’s Degree in Visual Arts and her Bachelor’s of Fine Art. Attending BCC exposed Simone to many different art forms, techniques and experimentation where she developed a stronger sensibility for drawing and a love for pen and ink.

After college, Simone continued her independent practice and has exhibited in art shows, including The Place Between Here and Therean exhibition of contemporary Barbadian art taking place at The Frame & Art Co. between April 17 – May 16, 2015. She won an incentive award at NIFCA in 2011 and was featured in ARC Magazine, FuriaMag and Caribbean Beat, along with a few online fanzines.

Simone has participated in three residencies to date: a one week residency at Fresh Milk (Barbados) in 2012, one with Projects & Space (Barbados) and one with Alice Yard (Trinidad) in 2014.


Artist Statement:

As an artist, I want to have an honest connection with my work. I gravitate towards ideas about science, the universe, dreams, the mind and experiences. I seek to explore these ideas from a personal perspective, expressing them through very detailed, abstract drawings rendered by pen and ink. With these, I create an alternate reality; my hybrids within my own universe.

My use of detail is based on my belief that I have some type of Obsessive Compulsive Disorder (OCD). My thoughts consume me and I also write a lot, often repetitively. I am very particular in my ways and at times I can be a bit of a perfectionist. The use of detail, however, is not specifically linked to any one series, but to the notion of being disciplined.

I illustrate this way because, even though it can be time consuming, it is a stress reliever. It puts me in a trance-like state where it eludes the concept of time. It also distracts me from my racing thoughts; it is my therapy.

Fundraising for Versia Harris’ Residency at Casa Tomada


Barbadian artist Versia Harris will be going to Sao Paulo, Brasil for a two-month residency with Casa Tomada beginning June 1, 2015.

To raise funds to help cover the living costs of this collaborative programme organized between Fresh Milk and Casa Tomada, Versia will be selling reproductions of stills from her original animations leading up to the residency to raise funds.

To view available pieces for sale, click here.

Please email Versia at for payment methods and shipping fees.

Jordan Clarke’s Residency – Week 3 Blog Post

Barbadian-Canadian painter Jordan Clarke shares her third blog post about her Fresh Milk residency, continuing to use self-portraiture and exploration of her surroundings for self-discovery and both personal and artistic growth, reckoning with the multiple facets and cultures that comprise her identity. Read more below:


While at Fresh Milk, I have been working through self-portraiture, landscapes, photography and journaling as a means to document my first visit to Barbados. Born in Canada, I am the daughter of a Canadian mother with Scottish and English roots and a Barbadian father who has now spent 75% of his life in Canada. As a result, I possess multiple identities. I see myself as mixed-race, Black and Canadian.

In Barbados, where I have no family members, I feel disconnected and exposed. I am an outsider in my father’s homeland where I had hoped to feel a sense of homecoming and belonging. Not surprisingly, the work I have been producing here is introspective, exploring the theme of self-perception. My double self-portrait in graphite really expresses the sense of vulnerability and sadness I felt soon after my arrival in Barbados.

I have also been looking outwards, exploring landscapes in my work, specifically sky and cloudscapes. I’m attracted to clouds because they are always in movement and constantly changing, creating new formations that never repeat. I also find them to be majestic and beautiful. For me, clouds represent a universal space rather than a specific place, a space that is similar in both Toronto and Barbados.

At the moment, I see landscapes and portraits as two different practices. I had originally intended to insert myself into the landscape to create a connection with the land and Barbados. Interestingly enough, this joining of my body and a still unfamiliar landscape isn’t happening.

This residency is a special opportunity for self-discovery and evolution. I am realizing that change is not always comfortable, but is an essential part of my growth as a woman and as an artist. What is most painful is the feeling that I am missing a large part of my cultural roots and identity.


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This residency is supported by the Ontario Arts Council.

Intervention IBB Magazine shares Tilting Axis

Instituto Buena Bista (IBB), Curacao shares an article through their Intervention IBB Magazine about the 2015 Tilting Axis conference, which took place on February 27-28 and brought together a number of contemporary arts initiatives from around the Caribbean along with a few international entities to devise an action plan for advancing the region’s creative sector. Read an excerpt from IBB co-founders Tirzo Martha and David Bade below:


First impression

David: To be honest, at first I had a prejudice of what the conference was going to be. Because of my past experiences, I grew accustomed to the fact that most of the time there was a lot of talking, less actions and very few tangible results. But within this short time of 2 days, this was not the case at all. The whole approach and the focus was to come to concrete and clear results. I think this was a good thing and I am positive about this. We had to take steps to get somewhere. They gave us cases we had to work on and present and come up with some real proposals. “Collaboration” and “exchange” are all very nice funding words, but they have been used so much that now they’re becoming empty words. I have every confidence that something will happen this time around.

Tirzo: Two things I find very important about the Tilting Axis conference:

The old guard and the usual faces were absent, and there was fresh blood there. That was refreshing, to have that fresh blood who are open to new ways, perspectives and visions. Another thing I found interesting was that it wasn’t about the artist as individual but about art itself. About the society, the added value of art for the society and how you can contribute to the development of art education and formation through social cultural art projects.

David: we sat in work groups or sub groups and got the questions: Are we just here to meet each other or will we do something from now on? They proposed to me too, now that next year we will have existed for 10 years, to let our art collection travel within the Caribbean region. Now our network has expanded with these new people, the idea to have our art travel in the region visiting all the different art platforms sounds very appealing.

Tirzo: Collaboration is not necessarily in one form only. It can also be to assist or to support. For example: a lot of art initiatives say they have a lack of financial means. They don’t have money for a website for example. To let some company make a website can costs thousands of dollars, but if for example we at IBB can make a website for another art initiative we can support each other in this way. We can exchange our services, knowledge and capacities to one another, as everyone is good at one thing. It’s much cheaper and by doing this we can also generate funds.

It was of great satisfaction to meet and speak with people from the French speaking islands, Martinique, and also to acknowledge the presence of a representative from the Dominican Republic.

Read the full article on Intervention IBB Magazine here.

Jordan Clarke’s Residency – Week 2 Blog Post

Barbadian-Canadian painter Jordan Clarke shares her second blog post about her Fresh Milk residency. She addresses the direction her work is taking, focusing on self-portraiture and developing the background of her pieces to suggest a sense of space, and has continued to explore the island alongside fellow resident artists Daniel Fernández Pascual and Alon Schwabe of Cooking Sections. Read more below:

Self portait

Two weeks into the residency and it feels like I just arrived.

I’ve been spending the majority of my time in the studio creating, reflecting and taking everything in. I’m sensing this as a time for gathering images, ideas and information that will find expression in my future creations.

It seems that I have gravitated towards self-portraiture as a way to access how I am feeling and thinking about myself in relation to this new place, Barbados. In addition to working from images, I have taken on the challenge of drawing myself from life each day. To assist me, Annalee set up a large mirror in the studio space. What I’ve found interesting is that none of the portraits drawn from life look completely like me.

Over the past week, I have been thinking about identity and how it is shaped. I realize now that my sense of identity is not linked directly to Barbados, despite my father’s Bajan roots.  This is the perfect opportunity for me to think about how I would like to identify, how I see myself, as well as how my life experiences have shaped me.

Mid week I met Barbadian artist Simone Padmore who addresses themes of identity in her work.  Some of her illustrations can be found in ARC magazine issue #5.

Towards the end of the week I began to think about the landscape, and how I could paint myself into one. The figure and landscape have always been separate for me. In my work the background suggests a sense of space rather than a specific place or location. I’m not sure where this will go, but it is something I am working on.

It was Easter weekend, and on Good Friday Annalee made a delicious gluten free quiche for our lunch. I am definitely being spoiled here!

An exciting event for me was finding out that early Saturday morning a horse was born on the family farm.

West coast beach

I ended the week traveling part of the West Coast with Alon and Daniel of Cooking Sections, who are also doing a residency here at Fresh Milk. We started at a lively market in Bridgetown. It was a completely different experience from the quiet and serene studio in St. George. I enjoyed the liveliness and dancehall music on the mini buses. We also took some time to enjoy ourselves on the beach. The West Coast is ideal for swimming, in contrast to the rugged picturesque East Coast. Our day ended with food and music at the Oistins Fish Fry on the South Coast.

Looking forward to the week ahead.


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This residency is supported by the Ontario Arts Council.

Jordan Clarke’s Residency – Week 1 Blog Post

Barbadian-Canadian painter Jordan Clarke shares her first blog post about her Fresh Milk residency. In addition to familiarizing herself with Barbados, which she has never visited before, Jordan shares some of her thoughts on grappling with notions of identity and belonging in an environment that is both a part of her heritage yet still a foreign space. Read more below:

Cloud study 1

I cannot believe it’s been almost a week since I arrived in Barbados.

Shortly after landing on Monday we headed over to Fresh Milk where Annalee gave a lecture to a couple art students from the University of the West Indies.  The lecture was a great introduction to the Caribbean and its art scene. We were introduced to the various informal art networks happening throughout the Caribbean such as Alice Yard (Trinidad), Popopstudios (Bahamas), Tembe Art Studios (Suriname), NLS (Jamaica), Beta Local (Puerto Rico), Instituto Buena Bista (Curacao), and Ateliers ’89 (Aruba).  

Annalee referenced the book, An Eye For The Tropics by Krista Thompson, to discuss how tropicalization has developed throughout the Caribbean, and how the image alone has been used as a tool in creating this inaccurate idea of a ‘tropical paradise’. It seems that these networks are creating platforms for contemporary artists to be able to experiment and to exchange ideas, while providing safe spaces to foster self-expression.

Both Annalee and Katherine have pointed out various books from the Colleen Lewis Reading Room they thought would be of interest to my art practice.

See Me Here: A Survey of Contemporary Self Portraiture From The Caribbean really stood out for me because I am also dealing with self-portraiture in my work. It’s interesting to see how Caribbean artists are examining, exploring and expressing their identity.

Thinking The Diaspora: Home Thoughts From Abroad by Stuart Hall, was suggested to me after an insightful conversation I had with Annalee about feeling disconnected from Barbados. Because I am mixed race and have a Barbadian father I thought I would feel more at home.  But the truth is, I don’t. So once again I’m continuing to question my identity. I am coming to the realization that this is okay!

I was fortunate enough to visit Bathsheba with Aaron Kamugisha who is a professor of Cultural Studies at the University of the West Indies. We drove along the rugged East Coast with a stop at St. John’s Parish Church, one of the oldest in Barbados. Looking out from the church was a breathtaking view of the Atlantic Ocean. I also made a visit to Rockley Beach in Christ Church with Annalee. It was an absolutely beautiful evening walking while listing to the rolling waves, after which we headed over to Mojos for dinner, drinks and to meet with local artists Katherine Kennedy, Versia Harris, and Mark King, who I got to meet for the first time.

In addition to sightseeing I’ve been spending a lot of time in the studio. I’m really enjoying just being in this wonderful space that is full of natural light and which also provides a fresh cooling breeze. I began my week with sketching various plants growing around the Fresh Milk space. On Friday I began to work with oil paints on mylar paper. I’m finding the drying time to be a bit slower than what I would like at this point. So in the coming days I will be exploring other mediums such as graphite, charcoal and oil pastels.


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This residency is supported by the Ontario Arts Council.