Fresh Milk welcomes Umi Baden-Powell & Hannah Catherine Jones to the Platform

Fresh Milk is pleased to welcome UK-based artists Hannah Catherine Jones and Umi Baden-Powell, of Barbadian and Dominican heritage respectively, to the platform from for the month of November, 2017.

TAXI FOR TWO, 2012. © [Hannah Catherine Jones + Umi BadenPowell]. Mapping fox roadkill + event documentation.

Umi and Hannah, through their collective agency ‘Ancestral Architecture’, will use their residency at Fresh Milk to explore “decolonized” bush rum (flavouring of rum with African herbs and spices) as metaphorical and literal fluid vehicle to connect with their own ancestral architecture as members of the Caribbean diaspora. They will be studying the processes and transformations (cane to sugar, sugar to alcohol, product to colonial capital, etc.) of rum, a key product in transatlantic slavery, and explore the ways their ancestors channelled trickster tactics and used consumption of decolonized bush rum to fuel another decolonisation tactic – music and performance.

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About Umi Baden-Powell:

Umi Baden-Powell is an artist, designer and aspiring architect living and working in South East London for the past 7 years. Her background in Fine Art (BA FineArt, the Slade School of Fine Art, University CollegeLondon) and her experience as a maker greatly informs her experimental but pragmatic approach to architecture and design. Umi is interested in ways to initiate egalitarian, ecological, social, grassroots and cultural interventions, as well as forming proposals for alternative models of living in the city – activism through architecture.

About Hannah Catherine Jones:

Hannah Catherine Jones (aka Foxy Moron) is an artist, scholar, multi-instrumentalist, radio presenter (NTS), composer, conductor and founder of Peckham Chamber Orchestra – a community project established in 2013. Her broad practice is connected through a central spine of inclusivity and decolonization. Myths (both ancient and modern), word-play, appropriation and her own voice (in song) are her materials. The videos she composes use   fragmented appropriated footage, as do her orchestral compositions. Her Oweds are a temporal form of self-reparation, a method of connection with ancestors though sonic ritual using voice, theremin and video her Afrofuturistic operatic performances bridge visual arts (video) and music (sonic improvisation).

Philipp Pieroth’s Residency – Week 2 Blog Post

German-born, Johannesburg-based visual artist Philipp Pieroth shares his second blog post about his Fresh Milk residency. This week, Philipp has tried not pressure himself in terms of having fully reconciled work at the end of his residency; rather, he is trying to trust his process and know that clarity will come over time. He also had the opportunity to present his work to students at Barbados Community College, and has started a mural workshop with them on a wall at the school. Read more below:

In my last blog, I wrote about my process. I still haven’t finished any work – I won’t be finishing the works before I Ieave, which was my original plan. Nobody pushed me to do so, but I that’s the pressure I put on myself. I’ve learned that I don’t work that way; there is a certain organic nature of the process I just can’t deny or can’t force. It needs time, no matter how much work I put in. At times I feel like I am not working enough, even though I am working every day up to 12, 14 hours, even often on weekends. A painting needs to be worked on, sometimes it needs to sit for a while and barely be looked at for weeks, before doing any work on it again. Though I was aware of these facts, the residency has acted as a good reminder.

My paintings look very different from each other. Like they have been made in different periods of my life almost. That was confusing and also unsatisfying, but I have accepted it now. I always try to take a failure as a chance to change my angle on things and turn it into a lesson. So it might turn out not to be a bad thing. I actually prefer – let’s say at a solo show – to see diversity in a body of work. If I see 20 works and the shapes and the colours only change a little bit, I feel bored.

Chelsea and I had the chance to speak to a class at the Barbados Community College. I showed my work and started a workshop with some of the students working on a mural at the school. The work that I saw from them was impressive, and I feel the talk was well received. For the mural, the group came up with an interesting concept, which we need to execute now, after the sketching is done.

Chelsea Odufu’s Residency – Week 2 Vlog

US-based filmmaker of Guyanese and Nigerian descent Chelsea Odufu shares her second vlog post about her international artist residency at Fresh Milk in Barbados. She talks through her experiences navigating the island, learning her way around and in so doing beginning to build familiarity with people and places. She also gave a talk to students at the Barbados Community College (BCC), where she screened her film Ori Inu: In Search of Self. Read more below:

Transoceanic Visual Exchange 2017

Fresh Milk is thrilled to announce that the Caribbean screenings for Transoceanic Visual Exchange (TVE) 2017 will take place in Barbados on select dates between November 3rd – 13th at the Fresh Milk studio and in the Morningside Gallery at Barbados Community College (BCC). Additionally, the online exhibition of works will be available for viewing from November 20th – December 20th. Read more about the project and see the full screening schedule below!

Fresh Milk, in partnership with Footscray Community Arts Centre and the Barbados Community College, is pleased to present the schedule for the 2017 edition of Transoceanic Visual Exchange (TVE), a series of programmes taking place this year between Barbados and Australia.

TVE is a collection of recent films and videos from artists practicing in the Caribbean, Oceania and their diasporas. TVE aims to negotiate the in-between space of our cultural communities outside of traditional geo-political zones of encounter and trade, intending to build relations and open up greater pathways of visibility, discourse and knowledge production between the regional art spaces and their communities.

The Caribbean screenings will take place in Barbados on select dates between November 3rd – 13th at the Fresh Milk studio, Walkers Dairy, St. George and in the Morningside Gallery at Barbados Community College (BCC), Howells Road, St. Michael, while the screenings in Australia will take place at the Footscray Community Arts Centre, 45 Moreland Street, Footscray
Victoria on November 18th from 10am – 5pm (see more about this event here).

Additionally, the online exhibition of works will be available for viewing from November 20th – December 20th.

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Barbados Screening schedules & Participating Artists:

Video Installations

Barbados Community College
Friday Nov. 3rd (10am – 6pm), Saturday Nov. 4th (10am – 3pm) & Monday Nov. 6th (10am – 6pm)

Mohini Chandra (Fiji) – Kikau Street
rc campos (Brazil) – Entangled Landing Points

Friday Nov. 10th (10am – 6pm), Saturday Nov. 11th (10am – 3pm) & Monday Nov. 13th (10am – 6pm)

David Gumbs (St. Martin/Martinique) – Blossoms
Lisa Hilli (Papua New Guinea) – Material Histories 1

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Narrative / Documentary Screenings

The Fresh Milk Art Platform
Sunday Nov. 5th (5pm – 8pm)

Alanna Lockward (Dominican Republic) – ALLEN REPORT: Retracing Transnational African Methodism
Craig Santos Perez (Guam/Hawaii) – Praise Song for Oceania
Alberta Whittle (Barbados) – Recipe for Planters Punch

Sunday Nov. 12th (5pm – 8pm)

Katia Café-Fébrissy (Guadeloupe/Toronto) – ROOT UP/À LA RACINE
Juliette McCawley (Trinidad & Tobago) – One Good Deed
Danielle Rusell (Jamaica) – The Bakers of Oriental Gardens
Lisa Taouma (Samoa) – Adorn

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Experimental Video Art Screenings

The Fresh Milk Art Platform
Wednesday Nov. 8th & Thursday Nov. 9 (6pm – 9pm)

Featuring work by:

Louisa Afoa (Samoa), Black Birds (Fiji/Tokealu/Grenada/Maori), Di-Andre Caprice Davis (Jamaica), Lionel Cruet (Puerto Rico), Tricia Diaz (Trinidad & Tobago), Deborah Jack (St. Maarten/USA), Shivanjani Lal (Fiji), Natalia Mann (Samoan/European), Jodi Minnis (The Bahamas), Sofia Gallisá Muriente (Puerto Rico), Adam Patterson (Barbados/UK), Oneika Russell (Jamaica), Shanice Smith (Trinidad & Tobago), Talia Smith (Samoan/Cook Islands/New Zealand), Luis Vasquez La Roche (Venezuela/Trinidad & Tobago) and Joanna Helfer (Scotland), Sandra Vivas (Venezuela/Dominica), Rodell Warner (Trinidad & Tobago), Nick Whittle (Barbados/UK) and Anisah Wood (Barbados)

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Philipp Pieroth’s Residency – Week 1 Blog Post

German-born, Johannesburg-based visual artist Philipp Pieroth shares his first blog post about his Fresh Milk residency. Philipp’s first week has seen him delve into research about Bajan culture & identity, and he is now balancing his original concept with his natural work process, which is organic, intuitive and fueled by stimuli in his environment and his emotional connection to his pieces. Read more below:

It’s been a week now since I arrived in Barbados and started my Fresh Milk residency. I received a warm welcome by the team, and am excited to finally be here.

Since I am a very intuitive worker, it has been challenging for me to work with a predetermined concept – the proposal I wrote for the residency investigating Bajan Identity – which frames me and my work in a certain way. I realized that I was trying to stick to this idea too closely. Hence, while I am still researching this topic, I’m trying to be free at the same time, allowing myself to step out of it.

My creative process is an organic one that allows itself to bend, crack and change from its original attempt or idea. I never know what might happen during the work. Though I have a concept or an image in mind, I enjoy and need it to be dynamic, and welcome unexpected changes and accidents. That makes my paintings alive and engaging. Usually, my concept is rather abstract and emotional, only being defined by words after the work is done. So at this point I am trying to balance these things in order to  get into my workflow.