Last year, I was delighted to share that I had been awarded an Arts Council England Grant (DYCP) to undertake a creative development project that involved a research trip to Jamaica. This incredible opportunity allowed me to immerse myself in the local art, culture and landscapes first-hand, whilst reconnecting to my heritage.
Jamaica also became my studio for the coming weeks, offering endless sources of inspiration each day. With my art supplies in hand, I couldn't wait to capture my experiences across the island on-location for the very first time. This transformative journey would go on to shape my creative practise in ways I had never explored before, marking a significant new chapter in my artistic development.
Exploring the Jamaican Art Landscape
Starting my journey in Ocho Rios, I couldn't wait to engage with the local Jamaican Art and Craft scenes. My first stop was at the Courthouse Gallery, where I met with Gallerist Sonja Griffiths. She kindly gave me a tour of their beautiful collection of Jamaican Art, which included a sculpture by the renowned Jamaican Artist Laura Facey. I also discovered the work of artists such as Sean Henry, whose watercolour landscapes inspired me to get my own travel paints set out right away.
This was my first time experiencing Jamaican Art in a Jamaican Gallery - It was a moment that I had once dreamt of. Sitting on the gallery’s balcony with my paints, I found myself capturing the island’s beauty on-location for the very first time. I was overwhelmed with new-found inspiration from both the gallery and its surroundings.
During the trip I also connected with Fine Artist and Textile Designer Michael at his beautiful studio in Ocho Rios. I was amazed when I entered, not only by his vibrant artwork, but also by the view from his studio! He referred to it as a 'Mini Dunn's River Falls'.
After learning more about his techniques and creative processes which included mixed-mediums, I left with new ideas to try and explore within my own work. This included trying oil paints and exploring different compositions on a larger, mural-like scale to create a similar impact to his works.
Studio Visit to Artist and Textiles Designer Michael in Ocho Rios
I also visited the Craft Markets in Ocho Rios, a place I hadn't been to since I was 9. Everything seemed smaller than I remembered, yet in some ways, it felt unchanged, as if I had travelled back in time. I enjoyed connecting with the local artists and seeing a diverse array of paintings, crafts and wooden carvings, all full of Jamaica's vibrant colours and energy.
A key part of the research trip was also visiting the National Gallery of Jamaica in Kingston for the first time. Here, I met with their Senior Curator Dwayne and after being given an introduction and tour of their current exhibitions, was given access to their incredible archives to deepen my understanding of Jamaican art, history and themes which inspired Jamaican Artists. It was inspirational to see unique Jamaican experiences through a different lens —from traditional folk art to contemporary pieces that challenge norms.
I was introduced to the work of artists such as Edna Manley, who is considered one of the most important artists and art educators in Jamaica. Her work gave voice to her internal explorations of identity and politics, the latter a result of witnessing the struggles of Jamaican people for political, economic and social rights, which culminated in the 1938 strikes and the formation of the People's National Party.
Her insight challenged me to rethink my own artistic practice, encouraging me to explore how I could reflect parts of Jamaica's history and my ancestry, into my own practise.
While in Kingston, I also had the opportunity to explore the vibrant street art scene through a tour led by Jamaican artist Di-Andre. The murals were filled with vivid colours and displayed impressive scale and detail. Each piece narrated its own story, capturing the amazing atmosphere of the local culture and the artists' individuality.
Documenting My Journey
One of the most rewarding aspects of my research trip was the opportunity to document my experiences through photography and sketching on-location. For the first time, I had the opportunity to sketch and paint on-site, allowing my surroundings to inform my artistic expressions.
Each sketch became a visual diary, reflecting my immediate responses to the natural beauty and cultural vibrancy around me. I captured scenes of bustling markets, tranquil beaches, vibrant tropics and the lively spirit of Jamaican people.
Exploring the Island
Exploring different parts of Jamaica provided me with endless visual inspiration and allowed me to deepen my connection to its beautiful culture and landscapes, as well as my heritage. I was particularly drawn to the less-travelled, non-touristy areas, seeking authentic experiences that would reveal the true essence of Jamaica.
Although there were some challenges that prevented me from visiting some of the locations I'd planned, I embraced the journey and discovered new areas that greatly informed my creative practice too. Many of the unexpected places I found provided a more exciting and unexpected perspective for my upcoming work.
Studio Development
Once I returned to England, I wanted to sustain the momentum and inspiration from my trip right away. I worked alongside several project partners and a mentor who supported me in re-developing my practise and pushing the boundaries of my processes. I was encouraged to experiment with new techniques and take risks, which felt daunting but liberating!
To expand my artistic approaches, I also participated in an art workshop where I was introduced to new mediums and techniques. I explored mixed-media, impasto mediums and various styles, drawing inspiration from the sketches of the island.
During this period of studio development, I also delved deeper into my creativity by seeking ways to create work that resonates with both my heritage and contemporary artistry. My inspiration came not only from the Jamaican landscape but also from the artists I encountered during my trip, whose work influenced my artistic direction.
Studio Development Work
I explored a range of new subject matter including portraiture which initially felt out of my depth, but I quickly found it to be an exciting challenge. This exploration was inspired by the emotional connection I felt when visiting the Emancipation Park and encountering Laura Facey's sculpture 'Redemption Song', along with other portraits I discovered at the Courthouse Gallery in Ocho Rios. I wanted to see how I could evoke similar emotion and human connection within my own work.
I also experimented with using larger brushes for even the smallest of details, resulting in far less control over the marks I made. Although initially a challenge too, it ultimately led to creating work that felt like it captured the essence of Jamaica perfectly - The looser marks and bolder brush strokes felt like a true reflection of the dynamic and beautiful Jamaican culture.
Using impasto paints and textures, I explored ways to create interesting effects and depth within my work too. I was encouraged by my studio mentor to explore unconventional methods, using tape to create contrast between styles and define the boundaries within the compositions. Despite being unfamiliar techniques, they sparked transformative breakthroughs in my practice and opened new creative possibilities that I am eager to continue exploring.
What's Next
My newfound inspiration along with incredible experiences have pushed my practise in an exciting new direction and opened doors to new opportunities and networks. The experience has not only influenced a shift my creative practise, but also helped me establish a presence in both London and the Caribbean. Moreso, it has deepened my connection to my heritage, leaving me feeling more inspired than ever before.
My artistic journey is far from over. I am eager to explore potential collaborations and exhibitions that will bring my work to broader audiences. For me, this is more than just a personal exploration of my heritage, but a means to convey a broader message that celebrates and illuminates Jamaica's rich culture and history.
Looking back on my research trip to Jamaica and this period of artistic development, I feel deeply grateful for the experiences, connections, and discoveries that have shaped my practice. I am excited for the next stage of this journey and look forward to sharing the long-term outcomes of this ongoing exploration.
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