Tag: Ronald Williams

Fresh Milk / Clara Lionel Foundation Artistic Fellowship

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Fresh Milk is pleased to announce the recipients of its inaugural contemporary visual arts Fellowship programme, made possible with support from the Clara Lionel Foundation (CLF). This initiative provides four unrestricted grants of $20,000 USD, along with a $5,000 USD travel grant for each Fellow. The Barbadian-based Fellows, Anna Gibson, Simone Asia, Russell Watson and Ronald Williams, have demonstrated commitment to their practices, working across painting, sculpture, drawing, moving image, and digital media. Each Fellow was presented at a public event at the Caribbean Brushstrokes Gallery on August 9th and will benefit from sustained support during this 10-month programme from September 2025 until June 2026, culminating in a 2026 exhibition curated by Dr. Natalie McGuire.

On May 21st, 2025, the Fresh Milk team including Annalee Davis & Katherine Kennedy, hosted a roundtable session bringing together diverse participants to discuss critical issues in Barbados relating to the CLF’s core pillars, including contemporary visual arts, health care access and equity, gender-based issues, environmental concerns, and the impact of technology on society. The insights provided, informed the four nominators with expertise in contemporary creative practices, in their selection of the Fellows. The roundtable included Dr. Jo-Anne Brathwaite-Drummond, Dr. Clyde Cave, Carla Daniel, Amina Doherty, Dr. Robin Mahon, Patrick Moufarrige, Dr. Shayna Parris, Rae Skinner, and Leigh-Ann Worrell, while the nominators included Jason Fitzroy Jeffers, Dr. Therese Hadchity, Mark King, and Dr. Natalie McGuire. The full roundtable report can be found on our main Fellowship page here.

The exhibition, Where are the Tendernesses?, is celebrating the launch of the Fellowship and showcasing the Fellows work which runs until August 30th, 2025 at the Caribbean Brushstrokes Gallery. Read the full curatorial text here.

All photos by Dondré Trotman

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About the Fellows:

Simone Asia is a Barbadian-born illustrator recognized for her intricate penmanship and attention to detail. Her artistic influences span from local, regional and international figures, including Ewan Atkinson, Christopher Cozier, installation artist Tomoko Shioyasu, and illustrator James Jean.

Originally specializing in pen and ink, Simone has recently embraced mixed media, expanding her artistic exploration. Her work is deeply rooted in portraiture and journaling, often delving into themes of the human condition, botany, science, and metaphysics.

She holds an Associate Degree in Visual Arts and a Bachelor of Fine Arts (BFA, Hons) in Studio Arts. Throughout her career, Simone has participated in numerous local and regional residencies that have significantly shaped her artistic direction. These include Alice Yard (Trinidad and Tobago), Ateliers ’89 (Aruba), Projects and Space, Fresh Milk, and Punch Creative Arena (Barbados).

In 2016, she was awarded the Central Bank Governor’s Award and later that year held her first solo exhibition, Grey Matters, at Punch Creative Arena, Barbados Community College. Her work has since been featured in various projects, exhibitions, magazines and books internationally.

Beyond her personal practice, Simone works with Punch Creative Arena, where she helps facilitate exhibitions and events. She is also a part-time tutor in the Associate’s Degree Programme at Barbados Community College, teaching Drawing, 2D Visual Language, and Graphic Design: Illustration.

Anna Gibson is a Barbadian contemporary artist who explores women’s relationship with their bodies and its connection to cultural and social environments. Crafting images of body manipulation through realism and expressionism. She has been practicing for over 9 years and attended the Barbados Community College, completing her Bachelor of Fine Arts in 2017.

Anna has participated in some Barbadian local group exhibitions at UN Women 1in3 Art Exhibition at the UN House Barbados, ‘Young Artist’ at The Barbados Arts Council Art Gallery, Reimagined: Unspoken Bodies and Spaces at The Frame & Art Co. and more. She also has experience painting murals with artist collective A3 Design, most notably for the Hilton Barbados, the Barbados Grantley Adams International Airport and the Barbados Post Office.

Russell Watson is a Barbadian artist and arts educator specializing in digital media and theatre. He completed studies in Drama in Education and Theatre Arts at the Edna Manley College of the Visual and Performing Arts in Jamaica and studies in Film Video, and New Media at the School of the Art Institute of Chicago at both the BFA and MFA level. 

Currently residing in Barbados, Watson lectures in film at the University of the West Indies, Cave Hill campus and is the lead artist at the multimedia workshop RSTUDIO. 

His current creative work involves combining drawing, photography and animation for multimedia projection. The works present an ecosystem of beings and landscapes existing simultaneously across various scales and epochs, reflecting his contemplation of time and environmental fragility in the Anthropocene.

Ronald Williams is a visual artist who primarily works in digital media. While earning his BFA in Fine Arts from The Barbados Community College (BCC), he began experimenting with digital collage which he has since gone on to refine and develop into his individual style.

Since earning his BFA in Fine Arts from The Barbados Community College, Williams has gone on to work on multiple commissions and participate in various local, regional and international group exhibitions including exhibiting in Jamaica, Venezuela, Scotland and the USA. After following up a maiden local residency by accepting a Fellowship award to be a Vermont Studio Center resident in 2019, he participated in the Visible Man exhibition in 2021 held at the Bowling Green State University in Ohio and notably, and was featured in part of the Dak’Art 2024 program.

We are not separate.

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In May 2015, Barbadian artist Ronald Williams wrote a review about Frantz Fanon’s ‘The Wretched of the Earth‘ for the Fresh Milk Books platform; a book that addresses the complex role violence, protests and resistance play in decolonisation.

The Wretched of the Earth - Frantz Fanon

“My mind kept drifting across the Caribbean Sea as I read. It drifted and eventually channelled into the relatively recent acts of police barbarism in the U.S.A. It’s not because it’s a current issue that I feel connected, it’s slightly personal. I could just as easily be at the mercy of this brutality had I been born 20 degrees north and west.”

Five years later, Ronald’s words continue to ring true. We are not separate to this fight. Caribbean voices and experiences are a necessary part of the discourse as we not only empathise, but stand in solidarity against what is happening globally, and challenge the ways systemic racism has manifested and damaged our region.

Ronald Williams’ Fresh Milk Residency – Week 4 Blog Post

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Barbadian artist Ronald Williams, the recipient of the 2018 Fresh Milk ‘My Time’ Local Artist Residency, shares his final blog post. Ronald describes the last stretch of his residency as “bittersweet” for a number of reasons. Taking part in the second session of fellow resident artist Daisy Diamond‘s reading group yielded fruitful discussions, but was coupled with having to bid her farewell shortly after. Ronald also felt a renewed sense of clarity and conviction about the work he has been creating, but this was catalyzed by an unfortunate event that is telling of serious societal issues in Barbados. Read more below:

Last blog post I stopped at the end of Tuesday afternoon’s meeting with the class 4 students at Workman’s Primary. That same evening turned out to be an equally enjoyable exercise of a different sort. I had the pleasure of being a part of a sacred reading session, spearheaded by Daisy, where we engaged in a critical dissection of a few paragraphs of Paulo Freire’s Pedagogy of the Oppressed. I thought the discussions that arose from the text, as well as the tangential ones, were all pretty dope. Reading and learning like this is something I’d recommend to any person(s) seeking an in depth appreciation for what they are studying.

Unfortunately, the rest of the week took a bittersweet turn with an emphasis on the bitter portion of that concoction. Tuesday evening was to be the last day I saw Daisy, as her time in Barbados came to an end shortly after. A shame, as I felt I had gotten to know more about her in the last few times we were in the space together. I wish her the best.

Then on a heavier note, serious, senseless but thankfully not tragic events unrelated to Fresh Milk occurred on what was to be my last day of the residency. While not affecting the space, these events did have a negative effect on my state of mind and mentality. It also got me thinking about the multiple times I’ve been asked why my work deals with certain subject matter by strangers and even family members. If I needed something to galvanize the conviction I have for what I’m trying to do with my work, it was what happened that morning.

I did manage to finish the piece I’d been working on the week before. That’s the silver lining from the latter half of week 4. I called it Noose-sense. An obvious play on the word nuisance, but I don’t think the reading of the piece will be as obvious. I like that.

All in all, what can I say at the end of these 4 weeks? It was quick, much quicker than I thought it’d be. I didn’t get as much done from the production side as I intended, but it doesn’t feel like a waste. If anything there’s a significant clarity in exactly what I want to do; now it’s just a matter of execution.

Ronald Williams’ Fresh Milk Residency – Week 3.5 Blog Post

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Barbadian artist Ronald Williams, the recipient of the 2018 Fresh Milk ‘My Time’ Local Artist Residency, shares his blog post for the three and a half week mark in the studio. This part of the residency was largely focused on production, taking the research and influences of previous weeks to experiment with pattern-making and digital collage. On Tuesday May 22nd, Ronald also led a collage & portrait workshop with a group of Class 4 students at Workmans Primary School as the community outreach component of his residency, where the children looked at African masks for inspiration and got creative and expressive with materials. Read more below:

Week 3 Monday saw me start what I fully intended to be a productive week in solitude. Both Katherine and Daisy were out at the Barbados Museum and the Jewish Synagogue respectively, so I took advantage of my little alone time and was a DJ for a while. Side note: K. O. D. and Without Warning are hard and I’m a lot late to the party but Migos’ two albums are better than I thought they would be. Judge me.

So, first order of real business was to create the pattern I had in mind. The base design is actually the amalgamation of various prints, cut and pasted together in Photoshop and laid on top of a photo of a piece of black fabric. Took much longer than I needed it to. That base image was then flipped, duplicated, pieced together and the process repeated until I got what I wanted. With that, the day was almost up.

I worked on this piece for the rest of the week, getting lost midway, questioning what exactly I was trying to say with the piece and if I could properly translate how I felt without the reading of it going very left. We’ll see.

Week 4 Monday was spent preparing materials for an African mask inspired portraiture collage project that I, along with Katherine and Daisy, would conduct  with the Class 4 students at Workman’s Primary School the next day. This project, which was my community outreach portion of the residency, was my personal highlight of the last week and a half. Daisy, Katherine and I all ended up making one. It was fun.

All things considered, a relatively complicated week and a half where everything didn’t go to plan, but an ultimately satisfying one.

Ronald Williams’ Fresh Milk Residency – Week 2 Blog Post

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Barbadian artist Ronald Williams, the recipient of the 2018 Fresh Milk ‘My Time’ Local Artist Residency, shares his second blog post. In addition to catching up on his research using publications in the Colleen Lewis Reading Room, Ronald made site visits to the St. James and St. George Parish Churches as part of his interest in religious iconography and the relationship between spirituality, decadence and materialism. These visits, while awe-inspiring on the one hand, also prompted further thought around the role of organized religion in Barbados’ colonial history. Read more below:

Since week 1 didn’t go exactly as planned, week 2 was spent playing catch up on the research I wanted to do the prior week. In my mind that leaves me square with where I wanted to be at this point when the residency started. In reality, I’m probably quite a ways off the mark, but I won’t realise that until later when I can’t do anything about it. No sweat, right?

The highlight of the week was definitely my field trips to the St. James and St. George Parish churches. I intended to do St. John’s as well but time didn’t permit. Maybe I’ll do that this weekend. Those spaces felt like an alternate reality; the contrast from the draining heat outside to the refreshing chill inside, the various sounds of life outside to the deafening silence of reverence.

There’s something to be said, for me at least, about the energy in the Parish churches when you’re completely alone. There was a pressure I can’t quite describe; I felt small, like who I am was insignificant in the light of those grandiose stained glass renderings. Maybe I am.

I understand the effect those structures are meant to have—and boy do they work—but it’s my knowledge of this that makes it hard for me to ignore the fact that the churches were built in the 1600s, that in their pomp and circumstance are enduring symbols of colonialism and imperialism.

The architecture, which carries specific elements which have endured through every great period of history was also very interesting to me. That led me to do some research on sacred geometry and the symbolism of shapes.

As it is, I believe I’ve got enough pieces to play with so it’s time to make this work. I think this week will be good.