FRESH MILK Participates in International Artist Initiated presented by David Dale Gallery & Studios

Fresh Milk IAI Poster

Fresh Milk is very excited to be traveling to Glasgow to participate in the International Artist Initiated (IAI) project, presented by the David Dale Gallery & Studios as part of The Glasgow 2014 Cultural Programme taking place alongside this year’s Commonwealth Games.

About IAI:

International Artist Initiated is a programme of exhibitions and events devised by David Dale Gallery to coincide with the Glasgow 2014 Commonwealth Games.
Developed over the past year, the project is intended to act as a catalyst for discussion and collaboration between artist initiated projects internationally. The structure of the project is designed to be malleable and open source, in that it can be taken and applied elsewhere with different organisations – not that there is anything particularly ground breaking about the idea, but sometimes simple ideas are the most effective – let’s gather a diverse collection of people with similar interests and see what we can create.

Working with artist initiated, or focussed, organisations from across the six Commonwealth territories, the programme consists of a series of exhibitions and events by the invited organisations that respond to either the context of the Commonwealth Games within Glasgow, or is representative or indicative of contemporary culture within their nation through the lens of an artist-led organisation. The scope and direction of the project is intentionally open and wide – as the strength of this practise is in its breadth of interpretation and invention. Taking place over multiple venues in Glasgow’s east end, International Artist Initiated incorporates visual art exhibitions, public art, events, performance and publications as a celebration of the diversity of self-organised cultural practice internationally.

international artist initiated

The word ‘international’ is a daunting one, and a little bombastic. There is no intention within this project for the selection or execution to be conclusive in any way. The selection of the organisations, has by definition, meant the exclusion of thousands of initiatives – we consider this selection to supplement existing dialogues through opening up another network, another platform.

A self-critical capacity seems to be one of very few universals inherent within artist initiated organisations, and this project has grown its own criteria quite organically. The privilege within this project is the access to the plurality of voices. Fresh eyes that can say ‘yeh, but…’. The six disparate organisations represented within IAI all contribute separate and distinct critical and discursive components to the overall project: considering their own place and histories; the architectonic context within which they’re placed; the cultural historic context in which we work; specific cultural relationships towards the present invitation context; and whether the project can work and grow. Instead of an incessant list of questions, however, what develops is a wonderful narrative of sorts – a cyclical story in which everyone pitches in to embellish.

These contributors are:

Fresh Milk, Barbados
Fillip, Canada
Cyprus Dossier, Cyprus
Clark House Initiative, India
RM, New Zealand
Video Art Network Lagos, Nigeria

Download the IAI Programme as a PDF here.

iai poster

About Fresh Milk’s Contribution:

Exhibitions in the public space
Work by Mark King, Alberta Whittle and Ronald Williams
July 19 – August 3, 2014
Broad Street/Fordneuk Street, Glasgow

Notions of common/wealth versus single/wealth
Discussion and live broadcast
Saturday July 19, 2014
3pm – 5pm (10am – 12pm Barbados time)
David Dale Gallery, Broad Street, Glasgow

Watch it live online here: thisistomorrow.info 

Fresh Milk’s contribution to IAI is in two parts. The first will see the installation of works by three emerging artists on a billboard, on railings and on the surface of the sidewalk. The artists include a recent graduate from the Barbados Community College, Ronald Williams, who’s crisp digital montages critique the stereotype of the black athlete and will be installed on an extended billboard while Mark King’s temporal, geometric, site specific work will be installed on a pavement. Alberta Whittle’s fête (party) posters show the artist masquerading as both man and woman in her critique of gender stereotypes through her engagement with the local fête posters often seen posted throughout Bridgetown, Barbados’ capital city. The posters will be reproduced in multiplies and plastered throughout the streets of Glasgow.

Fresh Milk’s second contribution will be a discursive project called “Notions of common/wealth versus single/wealth”. This dialogical component will provide a platform for representatives of the seven specially invited networks to participate in conversations with each other and the Glaswegian audience. The aim of the conversations will, in part, be to unpack ideas related to the Commonwealth of Nations – the association under which countries gather every four years to celebrate sport in Glasgow in the summer of 2014. The intention is to explore the context of the IAI, as a gathering of Commonwealth Nations, and delve into how that relates to the work we all do as artist led initiatives. The concern is to unpack the Commonwealth as a macro, historical entity and understand our relationship to it, if any, and all that entails. Interrelated are ideas about the definition of wealth and value, both single and common, in our local contexts.

About Fresh Milk’s Participants:

Mark King

Mark King is a multidisciplinary Barbadian visual artist who explores archetypes and social norms. Interested in notions of topography and megalography, Mark makes coded, often satirical work that highlights social phenomena. The son of a former diplomat, Mark has called several places home. Growing up in The Bahamas, Barbados, Belgium, and the United States has left Mark with a unique perspective that directly influences his artistic practice.

Mark holds a Masters of Fine Arts degree in Photography from the Academy of Art University in San Francisco, California. In 2011 the Lucie Foundation handpicked Mark for their apprenticeship program. During the same year he participated in a screen-printing residency at the Frans Masereel Centrum in Kasterlee, Belgium. In 2012 he took part in an artist residency at Alice Yard in Port of Spain, Trinidad. In 2013, he participated in two residencies – Fresh Milk in Saint George, Barbados, and Ateliers ’89 in Aruba for the Mondriaan Foundation’s Caribbean Linked ll. Last year he released his first monograph, ‘Plastic’ through MOSSLESS publishing at The Newsstand in New York. Plastic has gone on to The 2013 New York Art Book Fair at MoMA PS1, The 8Ball Zine Fair, the 2013 I Never Read Art Book Fair in Basel, Switzerland, and The 2014 LA Art Book Fair in the Geffen Contemporary at MOCA.

Mark King’s Artist Statement

My contribution to the Glasgow 2014 Culture Programme is a site-specific work made possible by the access provided by technology. Through virtual and interactive maps I embarked upon an exercise in way-finding from a computer thousands of miles away in Barbados. Through mechanisms such as Google Maps I selected forms present in the architecture and manipulated them to create artworks that draw upon the location where my work will be presented.
I have chosen chalk as my medium due to its ephemeral qualities. The resulting artwork is temporary much like the Commonwealth Games in Glasgow. My hope is that spectators from across the globe will come into direct contact with the piece with chalk from the artwork sticking to their shoes and hitching a ride to the neighboring sports venues. The combination of the elements and foot traffic will slowly eat away at the pigment and ultimately return the site to a state prior to my temporary intervention.

It is unknown whether the work will last for an hour, a day or the duration of the Commonwealth Games.

Alberta Whittle

Alberta Whittle is a Barbadian artist, currently based between South Africa, Glasgow and Barbados. She has undertaken residencies at CESTA (Czech Republic), Market Gallery (Scotland), Collective Gallery (Scotland), Fresh Milk (Barbados), Greatmore Studio and The Bag Factory in South Africa.

She choreographs interactive installations, interventions and performances as site-specific artworks in public and private spaces, including at the Royal Scottish Academy (Scotland) and has exhibited in various solo and group shows in Europe, the Caribbean and South Africa, including at the CAS Gallery, University of Cape Town in March 2013 and in ‘WHERE WE’RE AT! Curated by Christine Eyene in Brussels in June 2014. Her practice is concerned with the construction of stereotypes of race, nationality and gender, considering the motivation behind the perpetuation and the different forms in which they are manifested.

Alberta Whittle’s Artist Statement

“Violence is man re-creating himself”.[1] 

“…Pon bed pon floor against wall
We sex dem all till dem call mi
Im de girls dem sugar dats all
Welcome de king of de dancehall…” [2]

I am interested in the conflict between historical images of the Other and the African Diaspora’s notions of the Self. The spectacle of racial differences relies on a language of bleak oppositions to confirm stereotypes. In Black Skin / White Masks, Frantz Fanon, observed that in colonial discourse “native” peoples are not positioned within the psychoanalytic structure of the Self and Other, but are relegated to the universe of objects, where they remain beyond the limits of cultural intelligibility.Focusing on the concept of subjective portraiture, both as art historical genre and public identity, my research has prompted me to interrogate the potential of Barbadian fete posters[3] as a means of regaining subjectivity.

3. jeans vs leggings-text-new

Whilst undertaking a residency at Fresh Milk in 2012, I began a series of digital collages, exploring the production and distribution of fete posters in Barbados. Fete posters are a platform for social commentary, highlighting the acute disparity between gender roles in Barbados, where these representations appear frozen. The posters advertising these “fetes” set the tone and introduce the hosts / hostesses.  Each poster must present a selection of portraits of the hosts / hostesses, who enact a series of set poses, often sexually provocative or stereotypically hypermasculine. There are exceptions to this trope, where we are presented with more family-oriented fetes or fetes, which present a more Afro-centric or Rastafarian ideology. However, despite attempts to present themselves as rigidly heterosexual, there are elements of homoeroticism, identified through pose, adornment and dress. Designed to reflect certain ideals, these posters have evolved to reflect a specific format, which typically utilises certain poses, typography, set design and phrases, presenting a fantastical landscape punctuated with exotic animals, signifiers of wealth, including mansions, enormous bundles of cash money, expensive liquor, cars and motorbikes. They are papered on walls throughout the urban and pastoral landscape and also use Facebook as a stage. Drawing from Dancehall and Hip Hop culture, they have become sites to define identity and project capitalist ideals.

Assuming a number of different roles, adorning myself in gendered forms of surface design I masquerade as both male and female. Through adopting specific gestures and poses, I attempt to ape the hypersexualised presentations of gender, which are rife in Dancehall culture. These posters provide an opportunity for individuals to present a portrait of themselves for the public to interpret, dismember and enjoy. The creation of this form of portrait photography can be considered a form of documentary realism, which offers a conflicting viewpoint from the stereotypical portrayals of the Other.

[1] Fanon, Frantz, (2001), “The Wretched of the Earth”, London: Penguin

[2] Beenie man lyrics from “King of the Dancehall,” http://www.azlyrics.com/lyrics/beenieman/kingofthedancehall.html

[3] “Fetes” are parties held at a variety of locations in Barbados, from private homes, bars, nightclubs, to parks and beaches. They are rarely ticketed, usually inexpensive and often free. They can be hosted by anyone, who can secure the venue, organise the DJs, and provide a bar to ensure the party is “HYPE”. “HYPE”, is a colloquial phrase, meaning cool, fun or popular.

Ronald Williams

Born in Bridgetown, Barbados in 1990, multimedia artist Ronald Williams developed an interest in art from a very young age.  His art education at the Barbados Community College’s Fine Arts program forced him to view art as a powerful cog in society. Currently, Ronald’s work focuses on race and sociology. He volunteers at the Fresh Milk Art Platform Inc. as part of the editorial team of the Fresh Milk Books initiative.

Ronald Williams’ Artist Statement

My collages investigate the role that sports and the black athlete play in society. I manipulate popular based imagery to compose computer-generated images that explore sports, perceptions, stereotypes and fantasies about the black athlete or figure, conceptually becoming deliberately self-contradictory as the stereotype is simultaneously celebrated and criticized. The work is designed as a large-scale poster to be installed on a billboard as an adhesive decal similar to how the image of the modern sportsman is represented.

Annalee Davis

Annalee Davis 

Annalee Davis is a Visual Artist and creative activist living and working in Barbados. Since 2011, Annalee has been the founding director of the artist-led initiative – The Fresh Milk Art Platform Inc. An experiment, a cultural lab and an act of resistance, Fresh Milk supports excellence among emerging contemporary creatives locally, throughout the Caribbean, its diaspora and internationally. Located on a working dairy farm and a former sugar cane plantation, Fresh Milk is a nurturing entity; transforming a once exclusive space to become a freely accessible platform with programming supportive of new modes of thinking and engaging. Annalee is a part-time tutor in the BFA programme at the Barbados Community College.  For more on her practice, visit her website and view the Fresh Milk site here.

mario caro

Mario Caro

Mario A. Caro is a researcher, curator, and critic of contemporary art, having published widely on the history, theory, and criticism of contemporary Indigenous arts. He is currently an assistant professor in the John W. Draper Interdisciplinary Graduate Program at New York University.

His work within the academy complements his endeavors to further global cultural exchange. He is on the board of various organizations focused on art residencies and is the current president of Res Artis, an international network of residencies focused on promoting the worldwide mobility of artists. Mario is the moderator for Fresh Milk’s discursive component as part of the IAI.

FRESH MILK XIV: Mark King’s Presentation

Mark King giving his presentation. Photo by Dondré Trotman.

Mark King giving his presentation. Photo by Dondré Trotman.

Fresh Milk invites you to view this two-part video documentation of a presentation by Mark King, who spoke about the value of artist residencies at our public event FRESH MILK XIV, which took place March 20, 2014.

About Mark:

Mark King is a multidisciplinary Barbadian visual artist who explores archetypes and social norms. Interested in notions of topography and megalography, Mark makes coded, often satirical work, that highlight social phenomena. The son of a former diplomat, Mark has called several places home. Growing up in The Bahamas, Barbados, Belgium, and the United States has left Mark with a unique perspective that directly influences his artistic practice.

Mark holds a Masters of Fine Arts degree in Photography from the Academy of Art University in San Francisco, California. In 2011 the Lucie Foundation handpicked Mark for their apprenticeship program. During the same year he participated in a screen-printing residency at the Frans Masereel Centrum in Kasterlee, Belgium. In 2012 he took part in an artist residency at Alice Yard in Port of Spain, Trinidad. In 2013, he participated in two residencies; Fresh Milk in Saint George, Barbados, and most recently Ateliers ’89 in Aruba for the Mondriaan Foundation’s Caribbean Linked ll. Last year he released his first monograph Plastic through MOSSLESS publishing at The Newsstand in New York. Plastic has gone on to The 2013 New York Art Book Fair at MoMA PS1, The 8Ball Zine Fair, the 2013 I Never Read Art Book Fair in Basel, Switzerland, and The 2014 LA Art Book Fair in the Geffen Contemporary at MOCA.

Take a look at the videos below:

FRESH MILK XIV Video

Take a look at our video from FRESH MILK XIV, which took place on March 20, 2014 at The Fresh Milk Art Platform, Barbados.

This event presented artists Nick Whittle, Mark King and Versia Harris speaking about the value of artist residencies to their practices, and a feature address by Chief Curator at the Pérez Art Museum Miami Tobias Ostrander, discussing the museum’s new design, existing programming, and interest in building a relationship with the Caribbean.

Thanks to Sammy Davis for shooting and editing this video!

A Review of FRESH MILK XIV

Art historian and writer Jessica Taylor reviews Fresh Milk’s last event, FRESH MILK XIV, which took place March 20, 2014 at The Milking Parlour Studio.

Photographs by Dondré Trotman.

Chief curator at the Pérez Art Museum Miami, Tobias Ostrander, giving his presentation. Photo by Dondré Trotman.

Chief curator at the Pérez Art Museum Miami, Tobias Ostrander, giving his presentation. Photo by Dondré Trotman.

The inaugural event held at the Fresh Milk Art Platform for the year 2014 brought together two interesting discussions concerning the production and exhibition of artworks within a global context. The first of these took up the role that artists’ residencies play as valuable sites of artistic growth and production, but also as sites that encourage cultural mobility and the negotiation of difference, where artists are able to freely adapt to new spaces and perspectives. These talks were conducted by three local artists – Mark King, Nick Whittle and Versia Harris – who have participated in multiple residencies within the region and internationally. This was followed by a presentation from the Chief Curator at the Pérez Art Museum in Miami, Tobias Ostrander, who explored the notion of a new regional museum. Reinforcing the emphasis that Fresh Milk places on the importance of cross-cultural collaboration, the speakers at FRESH MILK XIV provided audience members with an expanded view of Caribbean regionalism, intending to provoke greater consideration of the need to work across geographical boundaries in order to develop relationships with other institutions across the globe.

For Barbadian and British artist Nick Whittle, the problem with residencies is that eventually they come to an end. This notion of the artist residency as a safe space in which to experiment, explore, develop and even make mistakes resounded throughout the presentations given by the three speakers. For artists, a residency is an opportunity to produce work in a space away from their usual environment and obligations, often accompanied by other artists, and thus creates a community of reciprocity. Since there is not one specific model, residencies offer different environments and different creative frameworks.

Nick Whittle, Queen Emma Bridge, Curacao, 2013

Nick Whittle, Queen Emma Bridge, Curacao, 2013

Nick recently attended a residency at the Instituto Buena Bista (IBB) in Curaçao. The language barrier that Nick experienced inspired him to take up the issue of exclusion in his works, which acquired the form of nesting boats made from large sheets of Dutch newspaper. With the words “this is not my land, not my island” written on his back, Nick staged a live performance in Curaçao in which he sat in a long newspaper boat on a bridge, forcing viewers to consider what his presence in that context meant historically and geographically. Subsequently, Nick has produced a short film with his daughter, artist Alberta Whittle, extending these themes of exclusion and belonging, presence and absence, forced encounters and cultural dislocations.

Versia Harris, a Barbadian artist, was able to trace both the transformation of her artistic style and the development of her confidence towards her production process through her experiences at four artist residencies. Beginning at Fresh Milk, she saw this opportunity as a test run for her first international residency at the Vermont Studio Center, where her intention was to focus on printmaking because of the facilities available at the Center. By the time Versia finished her next residency at the IBB in Curaçao, her work had taken a fascinating turn, experimenting with the incorporation of photographs and live footage into her animations.

Versia Harris, Fantasy Land Seperation, 2013

Versia Harris, Fantasy Land Seperation, 2013

In Trinidad, under the guidance of Christopher Cozier, co-director of Alice Yard, Versia began to revise pervious animation projects, and through the process of re-editing was able to produce a multi-screen installation on the exterior walls of the Alice Yard building. This creation of a strong, new work from fragments of older works was an impressive manifestation of Versia’s development as an artist during her time at the four residencies, and stands as a testament to the importance of reflecting on progress over time, and anticipating what is to come from this young artist.

While Versia’s development was first and foremost aesthetic and stylistic, artist Mark King’s development was intrinsically based in the theory behind his works. Although trained in photography, Mark felt that the medium was limited in its ability to communicate the issues that he wanted to address. While attending residencies at Alice Yard, Fresh Milk and Ateliers ’89 in Aruba, Mark used the mediums of photography, drawing, installation, sculpture and collage to respond to what was happening around him. Inspired by geometric forms and the practice of origami, Mark has created a series of beautiful and complex line arrangements on paper that are the result of algorithms made from books on the 2009 economic crash, overall banking history and culture, memoirs, autobiographies, and financial industry related news articles.

Work by Mark King from the CABTW series, (2013 - ongoing) exhibited at FRESH MILK XIV. Photo by Dondré Trotman.

Work by Mark King from the CABTW series, (2013 – ongoing) exhibited at FRESH MILK XIV. Photo by Dondré Trotman.

Underlying these intricate and delicate designs is a strong criticism of the CEOs who were responsible for the financial crisis, and he recognizes an interesting connection between the uncertainty of the shape that the algorithms take when converted into the vectors that make up his work and the uncertainty of the stock market. In this series, and in his installations in Aruba, Mark has altered familiar structures in ways that enabled him to respond to social norms in coded and often satirical ways, free from the restrictions of one specific medium.

The value of attending multiple artists’ residencies as part of a larger process of artistic development comes from the global reality of our contemporary art world. Residencies, both regional and international, should be seen as part of a wider network of institutions that stands to connect artists and foster cultural exchange. This dialogue was continued by Tobias Ostrander, who spoke of his work as chief curator at the Pérez Art Museum Miami, which opened December 2013 in a new building designed by Herzog & de Mueron. Given that Miami functions as a transitory space between North, South and Central America and the Caribbean, the addition of this large-scale museum to a quickly maturing city, previously best known for the temporary art fair Art Basel, positions Miami as an interesting space in which to explore the possibility for a long-term relationship between the Pérez Art Museum and Caribbean art institutions.

FRESH MILK XIV. Photos by Dondré Trotman.

Speaking of a larger project of “strategic regionalism,” intended to increase the dialogue between these regions over time, Tobias emphasized the importance of seeing this a process of resolution, rather than a quick solution to the lack of visibility that Caribbean artists experience. Recognizing the curatorial issues inherent in exhibitions like Caribbean: Crossroads of the World, which will be shown at the Pérez Art Museum this year on a smaller scale than was shown in New York in 2012, Tobias positions this exhibition as a potential starting-point for dealing with these issues, and the first stage in a greater project of collaboration.

Underlying the discussion was a distinct frustration that ultimately exhibitions, like residencies, are temporary. The challenge that we face now is how to extend the wider horizons afforded by these events to effect meaningful change to the infrastructure within which Caribbean artists work on a daily basis.

_________________________________________________

About Jessica Taylor:

Jessica Taylor

Jessica Taylor

Jessica Taylor recently graduated from McGill University with an undergraduate degree in Art History and Philosophy and hopes to begin a graduate degree in Curatorial Studies in 2014. Her focus is contemporary Caribbean art.

FRESH MILK XIV

FM XIV Flyer 2

FRESH MILK is pleased to invite you to our first public event of 2014, FRESH MILK XIV, which will be held on Thursday, March 20th 2014 from 6:00 – 8:00 pm at the Fresh Milk Art Platform Inc., St. George, Barbados. See our About page for directions.

The Value of Artist Residencies

FRESH MILK XIV welcomes Nick Whittle, Mark King and Versia Harris to give artist talks, all of whom took part in a number of artist residencies locally, regionally and internationally last year at Fresh Milk, the Instituto Buena Bista (Curacao), Alice Yard (Trinidad), Ateliers ’89 (Aruba) and the Vermont Studio Center (USA). The artists will share the work they created while in residence and talk about the overarching impact of these experiences on their practice, framing residencies as free spaces for artistic growth, experimentation and cultural mobility and exchange. We are also excited to announce at this event, the chosen recipient of the Fresh Milk ‘My Time’ Local Residency 2014 selected from our recent open call. This Barbadian artist will be awarded a one-month residency on the platform and a $1,000.00 stipend towards artistic production.

A New Regional Museum

We are very pleased to feature visiting Chief Curator at the Pérez Art Museum Miami, Tobias Ostrander, who will speak to the new Miami museum’s design and program with the Barbadian audience. He will discuss from a curatorial perspective the opening exhibitions and projects currently on view, and the museum’s current research and programming related to the Caribbean, including the upcoming presentation of the exhibition “Caribbean: Crossroads of the World.” Tobias will also discuss his interests in developing future collaborations with art institutions across the Caribbean region as part of his thinking on a “Strategic Regionalism” which seeks to create increased dialogue between the Southern United States, Caribbean basin and Central and South America.

The event is free and open to the public. RSVP on Facebook here.

About the Presenters

Nick

Nick Whittle:

Nick Whittle is a Barbadian/British artist. His work is that of a diarist: regardless of scale or medium his practice explores geographical and historical encounters. Through a stream of consciousness process, he reveals feelings of alienation and connectedness. Much of his work is inspired by what was once described as “an ongoing interest in the narrow strip of land between high and low water.” His practice is interdisciplinary and encompasses sculpture, poetry, video, installation, painting and printmaking. He has recently concluded a residency program at the Instituto Buena Bista in Curaçao.

markus king

Mark King:

Mark King is a multidisciplinary Barbadian visual artist who explores archetypes and social norms. Interested in notions of topography and megalography, Mark makes coded, often satirical work, that highlight social phenomena. The son of a former diplomat, Mark has called several places home. Growing up in The Bahamas, Barbados, Belgium, and the United States has left Mark with a unique perspective that directly influences his artistic practice.

Mark holds a Masters of Fine Arts degree in Photography from the Academy of Art University in San Francisco, California. In 2011 the Lucie Foundation handpicked Mark for their apprenticeship program. During the same year he participated in a screen-printing residency at the Frans Masereel Centrum in Kasterlee, Belgium. In 2012 he took part in an artist residency at Alice Yard in Port of Spain, Trinidad. In 2013, he participated in two residencies; Fresh Milk in Saint George, Barbados, and most recently Ateliers ’89 in Aruba for the Mondriaan Foundation’s Caribbean Linked ll. Last year he released his first monograph Plastic through MOSSLESS publishing at The Newsstand in New York. Plastic has gone on to The 2013 New York Art Book Fair at MoMA PS1, The 8Ball Zine Fair, the 2013 I Never Read Art Book Fair in Basel, Switzerland, and The 2014 LA Art Book Fair in the Geffen Contemporary at MOCA.

versia black and white

Versia Harris:

Versia Harris is a Barbadian artist living and working in Weston, St. James. She graduated from the Barbados Community College with a BFA in the Studio Art programme in 2012, with an award from The Leslie’s Legacy Foundation. She participated in her first local residency with Projects and Space in 2011. Within the past year she has completed four residencies, beginning with a local residency at Fresh Milk, followed by her first international residency at the Vermont Studio Center, and two regional residencies at the Instituto Buena Bista, Curacao and Alice Yard, Trinidad in late 2013. In her work, Versia tackles perceptions of fantasy in contrast to the reality of her original character. She uses Adobe Photoshop to manipulate her pen drawings to create the animations.

tobias head

Tobias Ostrander:

Tobias Ostrander has served as Chief Curator and Deputy Director for Curatorial Affairs at the Miami Art Museum since 2011 (now the Pérez Art Museum Miami), where he oversees the program for the institution’s new Herzog and De Mueron designed building, which opened in December 2013. Prior to working in Miami, from 2009 to 2011 he was the director of El Museo Experimental El Eco in Mexico City. From 2001 to July of 2009 he served as the Curator of Contemporary Art at the Museo Tamayo in Mexico City. During his eight years at the Museo Tamayo, Ostrander developed an extensive program of international exhibitions. Prior to his work in Mexico City Ostrander was the Associate Curator for inSITE2000/01 in San Diego and Tijuana. He served as an assistant curator on the XXIV Bienal de São Paulo. He has a Masters in Curatorial Studies from the Center for Curatorial Studies, Bard College.