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:

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‘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:

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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.

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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

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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.

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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

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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 view available pieces for sale, click here.

Please email Versia at versia.abeda@gmail.com 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:

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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.