Please introduce yourself, tell us a little bit about where in the region you are based, and share some of the major ideas and themes you engage with in your practice.
I am Danaree Greaves, a Jamaican fiber artist based in the vibrant coastal parish of St-Ann. My artistic practice is deeply rooted in my love for the ocean and my concern about its degradation. I use textile-based techniques such as weaving, layering, and fabric manipulation to explore the fragile beauty of marine ecosystems. My work often incorporates recycled and found materials, including discarded fishing nets, plastics, and fabric scraps, to bring awareness to the growing issue of ocean pollution. Through my art, I aim to prompt reflection on how consumer culture and waste affect Caribbean shorelines and aquatic life. Influenced by artists like Courtney Mattison and Vanessa Barragão, I strive to evoke both wonder and urgency, reminding viewers of their role in preserving the delicate balance of our marine environments.
The socially responsible aspect of your work addresses the environmental impact of certain materials on Caribbean marine life, as well as spreading awareness through collaborative initiatives. Since receiving the TENDER grant, what are some of the approaches you have taken – aesthetically, materially and at the community level – to expand the dialogue around urgent environmental crises faced by our region?
Since receiving the TENDER grant, I’ve taken a multidimensional approach to expanding th environmental dialogue through my work. Aesthetically, I continue to use textured fiber based storytelling to reflect the fragility of underwater ecosystems. My recent work has been directly influenced by my ongoing involvement with the White River Fish Sanctuary, where I’ve been learning about marine and coral life firsthand. Through this experience, I’ve gained knowledge on coral propagation techniques and the delicate conditions required for coral survival. This understanding has deepened my appreciation for these ecosystems and has begun to shape the conceptual and visual language of my most recent pieces.
Materially, I’ve maintained a strong focus on sustainability, the long term intention is to salvage marine debris such as ropes, nets, and plastics collected in collaboration with local fishers. I have invested in new materials for an upcoming body of work that will center on the effects of environmental degradation on various marine animals. This next series will expand the scope of my practice, exploring not only coral reefs but also the broader marine ecosystem and the species that depend on it.
In addition to initiatives like TENDER, what other kinds of support or programming geared towards the needs of contemporary creative practitioners would you like to see implemented in the Caribbean?
While initiatives like TENDER are invaluable, there remains a pressing need for more regionally accessible support systems for contemporary Caribbean creatives. I would like to see a stronger network of artist residencies across the islands that prioritize sustainability and community engagement. Ongoing mentorship programs, especially those connecting emerging artists with seasoned regional and diasporic practitioners, would also be beneficial. Additionally, funding for inter-island exhibitions and collaborative projects would help dismantle silos and cultivate a sense of shared Caribbean identity in the arts. Most importantly, more institutional investment in arts education integrating environmental and social justice themes could inspire future generations of artists to see themselves not only as creators but as changemakers.
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