Friday, March 17, 2017
, St. Augustine , Trinidad
and Tobago Caribbean.
#1 Liberty Homes,
St. Johns Extension Road,
Tacarigua Sculptural Play-Space Project-Catalogue
facebook page –
The Paint Installation Project-Catalogue
Facebook darlen projects Page
OBJECTIVES : To make art-design, sculpture in urban, rural spaces.
The Toxic Form Project –
(In development) is the presentation of paintings and sculptures which will tell the tales of the human form in negotiating the urban landscape
The Heights of Aripo Project – Designing around value-added
Collaborators – Aripo Youth Group, Aripo Village Council, University of West Indies, UWI, Geography Dept.
The intention with this project is to create a sustainable development understanding within the village centered around design. The first step being a participatory mapping exercise, which will evolve into deeper conversation around design centered development.
The East Morvant Playspace Project
Client – Member of Parliament for Morvant – Adrian Leonce
Collaborators – University of West Indies, UWI Engineering Dept.
This project focused on designing around memory. This was guided through interaction with the children and adults living within the community. The designs, were then developed further, by UWI, Engineering MFA student, Darrien Charles.
The La Horquetta Edible Playspace Proposal
Client-Councilor Kwasi Robinson, Tunapuna/Piarco Regional Corporation.
The edible playspace was designed to develop a space that operates both as a natural playspace and micro sustainable agricultural project, based within the Phase-5 neighborhood of La Horquetta.
2014. Friday 17 October
The Tacarigua Sculptural Play-Space Project – Official Presentation, Trinidad and Tobago, Hilton Hotel, La Boucan Meeting Room. Here the project was presented to the national community for conversation and support.
2013. January 17 – 7 February.
The Paint Installation Project – Installation of 10 paintings and the 12 posters at Medulla Gallery, Port of Spain, Trinidad and Tobago, The Caribbean.
THE URBAN HEART BEAT PROJECT – Initiated by the Goethe
Institute and the German Embassy – Was the installation of 9
Artists artworks in city of Port of Spain Trinidad and Tobago.
The final presentation being in Berlin, Germany.
Catalog title – De Mi Barrio A Tu Barrio, Street Art in Mexico,
Central America and the Caribbean.
The AlterEgo Project- Is the solo presentation of 15 art-design pieces of furniture. Built in Trinidad & Tobago and reflecting a Caribbean design philosophy, at the Scrip-J Building, 1 Fernandes Industrial Centre, Laventille, Port of Spain, Trinidad and Tobago
The Re-human Seat- A seat designed and built for the International Conference - New Geographies, Studies in Postcoloniality and Globalization hosted by the Department of
Liberal Arts & Institute of Gender and Development Studies,
The University of the West Indies, St. Augustine Campus,
We the Artists- A group show of the work of local and international artists curated by Nicollette Ramirez.
Installed at the National Museum and Art Gallery of Trinidad
And Tobago, January 5th-26th.
One Day Symposium – Art, Design and Architecture – New Perspectives on Caribbean Practice, organized in collaboration with the Department of Creative and Festival Arts, UWI St. Augustine Campus; a component of the UWI Sculptural Project 2007.
The University of West Indies Sculptural Project
Curator of the project that presented seven artists sculptural proposals to UWI management. I also managed the installation of one of seven sculptures designed as part of the UWI Sculptural Project, outside the Main Library, UWI, St. Augustine Campus.
The Red Earth Festival: Built and presented the installation - The Deprivation Chamber at this An Eco Art Festival, Trinidad and Tobago.
Erotic Art Festival – Installed, a poster installation entitled “Trans” at Drink Wine Bar, Woodbrook, Port of Spain. Trinidad and Tobago. The festival took over several spaces in the Woodbrook community.
Convener of The UWI Sculptural Project,
Solo exhibition: The Capetown Chronicles Installation, Museum of the City of Port of Spain, Fort San Andreas. Was the installation of street posters, bringing the streets into the Museum space.
Art residency programme (3months) at Greatmore
Studio, Capetown South Africa & Closing Exhibition Entitled Chutney Jam.
Bottom Line Exhibition, A drawing show of 13 artists
held at the Cotton Tree Foundation, St. Ann
Several Group shows held at Eddie Bowen’s Studio
Worked on several independent projects, one of
which was to establish my own company, DArlen
Installation “Red Devil Tail” at Co-Sign, a project of Basso Leonard Architects Collaborative (BLAC), Port of Spain, Trinidad and Tobago.
Mi Casa Yo Casa – Plans for Resettlement –
An installation of drawings and sculpture, CCA7, Contemporary Art Gallery, Laventille, Trinidad and Tobago
“The House of Hervé meets the House of Dean” – A Collaborative installation with French artist Hervé Chambon, Fort Andreas Museum, Port of Spain, Trinidad and Tobago.
Assistant to the prop master on the film The Mystic Masseur, a film by Merchant Ivory Productions.
Annual Exhibition, Trinidad and Tobago Art Society.
Big River 1999 International Artists Workshop - one of twenty two artists from Trinidad and Tobago and around the world - Caribbean Contemporary Arts(CCA7), Grande Riviere, Trinidad and Tobago.
Gestures: An Installation - first solo exhibition, installed at the National Museum of Trinidad and Tobago
Meridian International Exhibition, USA. Traveling exhibition to several US States.
Division of Gender Affairs, Ministry of Culture and Gender Affairs, Government of Trinidad and Tobago and Shebang Media, USA - Conceptualizing videos with other artists -
Mural project: the paddock walls, Queens Park Savannah, Port of Spain, Trinidad and Tobago.
Design and construction of sets for video, AVM Studios, Morvant, Trinidad and Tobago.
Trinidad and Tobago Art Society, Annual Exhibition
“Dean & Zoya” Exhibition, Eddie Bowen studio .
Design artist: Crossover Design Ltd.
Young Artists Exhibition , Aquarela Galleries
Art Dept., Trinidad and Tobago Printing and Packaging Ltd.
Trinidad and Tobago Art Society Annual Exhibition, Central Bank, Port of Spain .
Visual Arts Environment Exhibition, Gallery 1234
Ontario College of Art and Design, Toronto, Canada.
Creative Arts Centre, Faculty of Arts & General Studies, The University of the West Indies, St. Augustine campus.
Craftsman’s Diploma in Jewelry Design & Production, John Donaldson Technical Institute, Port of Spain, Trinidad and Tobago .
Fatima College (Secondary School).
First prize - Inter American Development (IADB) Bank Design Competition .
Commonwealth Fellowship to the Ontario College of Art and Design, Toronto, Canada .
Setting the goals to develop a multi disciplinarian studio, inclusive of art, design, video and farming.
Report from the Sunday Guardian – Dean Arlen: Big doodles, Big Ideas - http://arcthemagazine.com/arc/2013/01/report-from-the-sunday-guardian-dean-arlen-big-doodles-big-ideas/
Taking art and design to the public - http://digital.guardian.co.tt/?iid=107550#folio=110
Design, Architecture in our space – http://www.guardian.co.tt/archives/features/life/2010/09/27/design-architecture-our-space
Torture & Pleasure
Heartbeat in the Barrio: Caribbean and Central American Street Art - https://repeatingislands.com/2012/05/09/heartbeat-in-the-barrio-caribbean-and-central-american-street-art/
CRB – Boon generation – Christopher Cozier - http://caribbeanreviewofbooks.com/crb-archive/11-february-2007/boom-generation/
The diplomacy of Art http://www.guardian.co.tt/lifestyle/2013-07-04/diplomacy- art
Thursday, April 21, 2016
ART, POWER AND IMAGINATION -
When I read this article, as you never really get art news on India or other South-South countries, when I do I read, this one is interesting; I have argued that art sits in the realm of power, with support of the middle-intelligentsia-cultural-class; which is in itself powerful. As much as art can and has created social revolution in the world, cultural moments, Rasta, Mother Earth, Bob Marley, Steel Pan comes to mind, I have found that the research of art in pivoting moments in our Caribbean, Trinidad and Tobago context needs to be expanded or even explored, how has Leroy Clarke's paintings, Earl Lovelace or V.S Naipaul affected the philosophical mooring of political and aesthetic thoughts, this is something I have always wondered, in this everydayness of movements is the artists' embedded in those movements, just saying
- Quote - "The gallery sits on prime real estate in the central business district of the city, with posh neighborhoods, the expansive Cubbon Park, upscale shopping hubs, government offices, the High Court, and Vidhan Soudha, the seat of the state government, all within walking distance. It is also in the same compound that houses the popular Government Museum and the Visvesvaraya Industrial and Technological Museum, both popular destinations for school trips and tourists." - Unquote -
Artists Protest Collector’s Takeover of Indian Museum
by Deepa Bhasthi on April 20, 2016
Friday, February 12, 2016
REFLECTION OF A WALKER
Carnival Monday and Tuesday Reflections.
Well dis carnival, was de lowest it has been in my attendance to shows, events and my 10 years of walking the city of Port of Spain. There has been an attempt at smoothing the edges, fixing the cracks; so the visible soars where not as in your face as it would be...Carnival needs to get out of the obeah of bacchanal, the rum shop fraternity, open the door to design, systems and operation....One story a friend revealed to us....to get an all access pass, applied online, when he went to National Carnival Commission, NCC, they didn't have his pass, they checked found it, printed it, then told him that he would have to visit every single organization individually and get them to sign and pay them separately in cash, each one! this is rum shop design system thinking...where I want meh money up front so ah could go to the store an get meh rum for meh self, if you give he de money, he go by he rum fus, get drunk and spend out meh money, so give meh, me money in cash.....
It is the same story with me, going to get my annual carnival CD's, by Cleaves music store, Port of Spain, "what is the latest carnival song Cleave?", "don't have any" "when yuh getting?" "not until after, might get some compilations", "why they don't come together to record some compilations for the early part of the season?" Cleaves tells me that he ask them to do that, people come to ask...the soca artists have not responded....
So we have to look at this
Oh, I forgot to mention - Brian MacFarlan have no right to comment on the endeavors of Peter Minshall...Brian MacFarlan is part of the problem in synergy with Yuma and dem, the bikini and beads, low level design out put, where they look outwardly, take and implement...tdue to a lack of critical content they become heroic.
Art and Design
As mentioned in my Instagram post Art is as democratic as any other phase in our lives, Carnival is a proletarian activity, where the ordinary becomes the extraordinary. Its in the translation of ideas where we can see how nimble, trained our hands are. There is a need for training of our craft peoples, artists and designers, the other thing, we do not have design in carnival, you can count on your hand the designers in carnival, what we have are mass makers, product people, marketers...
To bring carnival to where it should be; is to speak of carnival from its ancestral and communal moorings, rather than its capitalist, business merits....heritage carnival supports real development, this slick, all inclusive carnival presentation supports an individualist position of the human form and enslaves spaces and people to its own bidding.
The city can't survive in this model as we see happening in J'orvert, where a black middle class have moved this celebration from downtown, to the outskirts, for reasons they say...................
are security reasons, now the capital is almost empty, I played mud for 10 years, I have seen no major issues and we all know carnival is one of the safest times of our lives.....yet the death and the rise of class warfare is being supported by a African and East Indian middle class all in name of the neoliberalization, bling culture the feel that is needed to make them feel that they have made it.......
The concept of uptown and downtown carnival is real....carnival is one time you can see class separation in clear skin tones, and class division, Independence Square as we passed through is BLACK and WORKING CLASS, and black means Afro-Indo Trinbagonians, as you move West to Ariapita Avenue, there is colorism and little shading. Peoples have all moved to Ariapita Avenue, from Green Corner moving West, check it out.
carnival is peoples business, I was once told how people don't work around carnival, which is an absurd notion of productivity, (working or not working in Trinidad have a lot to do with management and the relationship that has developed with workers through our history, their is plenty of ducking, their is also plenty illiteracy....buh dat is another story)....carnival is when people hustle, boil some corn soup sell, make a band play, be a DJ party, sell beer, drink....Bar-B-Q eat, carnival people HUSTLE, in so many ways, living rooms are converted into production spaces, garages into warehouses, cars into transportation....family into labor, friends to supporting network....
THE NATIONAL CARNIVAL COMMISSION
have some work to do, this was Port of Spain, when I passed through around 3 pm, DEAD! I like the fact that there is the soca dome, it has created the opportunity for smaller bands to take up that void...what needs to happen is development, going into communities, supporting training and re-conceptualizing of what we deemed what carnival is...with the intention that we can have 50 small to medium size bands by next year........
DEY WAS OUT, ME, I HAVE ALWAYS SEEN CARNIVAL AS SAFE, AS I WAS COMING IN WE'RE STOPPED BY POLICE ROAD BLOCK, TOLD TO TURN ON MY HOUSE LIGHTS, THEY LOOKED AT US AND THEN ALLOWED TO PROCEED, TO OUR LEFT THERE WAS A PICK UP WITH YOUNG MEN BEING RUBBED DOWN....DEY, POLICE ALWAYS OUT....IN DE CARNIVAL
DIS ROPE BUSINESS
I find this funny that black people have brought back the colonial rope, to block black people from there own people....one part of colonial was playing mass on truck, that will be the next step....when we could invest our time in shaping or censuring behavior, we always react emotionally unintelligently to situation....in my community dem watless youth liming in de tree, de elders want to cut down de tree, Manning hav a problem with de contractors, he for UDECOT,
WE ALWAYS CREATING SOME MAD ASS SYTEM DAT DOH WOK FOR NOBODY.
So a man and some woman get dey ass beat up and dey pelt bottle because of ignorant security.......
HEAR DIS STORY
Ah breads and me was talking about harvest in the St. Johns community, I asked him, do you'll have harvest still (he is from the squatter community up St Johns Road, which is being regularized now), he told ne nah, dem fellas and dem, is fight to much in de harvest, so dey stop it.....I asked, so no one never asked them to stop, there was a silence and he said no!
No one never said to the men, stop fighting, no aunty, no mother, no uncle, grandfather, friend, girlfriend, son, daughter....no one said to stop.....
This is the same situation with the rope....the ROPE! a racist legacy is being used by children of slaves and indentured workers to regulate their own people of color.
THAT IS HILLARIOUS................................
DUE TO OUR LACK OF INNOVATION WE CAN'T DEVELOP SOCIAL TOOLS TO SUPPORT SOCIAL CHANGE
Designer nights out: good urban planning can reduce drunken violence
READ THIS ARTICLE AND YOU'LL SEE HOW PEOPLE WHO UNDERSTAND THE ROLL OF DESIGN CAN ACHIEVE
THE SMALL BAND MAN
I saw him them, dey, rocking the street, playing dem feathers, proud, bright shinny coming down the street...dey still dey!
DE SMALL BAND DEY STILL DEY....
DE BOTTLE HUSTLE...IS A BIG ONE!
I HAD A FRIEND WHO AFTER PARTIES WOULD COLLECT BOTTLES, HE STORED THEM IN HIS GARAGE...HE WAS ABLE TO GO TO CROP OVER TWICE FROM THIS ACTIVITY....OH HE WAS AN ENGINEER...
ALL STARS STEEL PAN
WITH $100, SHOW UP IN A WHITE OUTFIT SAILOR, ARMY AND YOU JUMP UP, WITH SOME OLDIES AND GOODIES....DAT IS MASS,
DAT IS CARNIVAL....
HE WAS MIMICKING THE DEEPSEA DIVER IN THE FISH TANK......
Tuesday, December 1, 2015
Rowley and Cazabon - Navigating Art-Design within the Social - An argument for the Tacarigua Sculptural Playspace Project and Social art-design
ROWLEY AND CAZABONNAVIGATING ART-DESIGN WITHIN THE SOCIAL.
An argument for the Tacarigua Sculptural Playspace Project and Social Art-Design
|The Bubble Swing Set|
Recently in the print media there have been some articles which highlighted the absence of a social design language in communities’ conversations with development, below I have highlight some,
Which are -
· Newsday article, Sean Douglas; titled – opposition to Bhagwansign’s office – Residents don’t want new building. Newsday, Wednesday 28 October 2015
· Express article, Michelle Loubon, titled – Intense meeting with Bhagwansingh’s over proposed five-story building : Trincity residents: consultation a farce
· Newsday, Sean Douglas - Rowley buys Paintings –Sunday 1 November, 2015
· Express – Sunity Maharaj – FEEDING THE SPIRIT OF THE PLACE, Sunday 1 November, 2015
· Harvard’s “Black in Design” Conference: Addressing Social Injustice with Design - 10/21/2015 by The Dirt ContributorThese 5 points are large exclamation marks as to why we need our artists and design community to ingrain an art-design dialectics into our communities, as verbs, nouns, adjectives, semi-colons... in the structural development of statements; when engaging in our particular aesthetics as it pertains to progressive development, in the absence of art-design vocabulary, our language have become bombastic and confrontational as we step towards modern development, there is this myth that development is a curse on life, rightly so, colonialism and post independence development policy have corrupted the planning processes, making our communities hotspots spaces for squatting of businesses, houses, parked cars, erosion, unsightliness, ugliness...uncivilizing living, developing animosities between neighbours; this can be witnessed from West Moorings to Laventille; Laventille to Lange Park, Lange Park to Moruga, our first response to development is to shut it down, take action, its the fear of elitisms and elitisms in development... this brings to mind the Children’s Court, which was proposed to be installed North of the Bhagwansign’s project, it was decried; as it will bring criminals, even thou the proposed court was a civil court dealing with children matters, with mediation rooms, playspaces etc. There was absoluteness in the community resistance.
Glaringly absent from these conversations is the community unwillingness or inability to grasp opportunity to negotiate GREEN SUSTAINABLE DESIGN, for their communities, to set trends of partnering with business or state creating a new paradigm in social development.
I will quote from the DOWNTOWN-Revitalization Inc.Webpage - http://downtownrevitalizationinc.com
“We are residents, land owners and business owners in the Charlotte Amalie area working with the public and private sectors to create a shared, coherent vision aimed at a series of goals leading to a revitalized and energized town of Charlotte Amalie for the benefit of Virgin Islands residents & visitors alike.
THE BANGKOK TREE HOUSE
The Bangkok Tree House Project, proves how we can design green, blend in to the environment the memory of spaces, reclaim as we build. what it takes is a willingness to listen, learn, communicate. In these instances design sets a vanguard formula of how a community will like to see its self.
WHY?As we navigate the Tacarigua Sculptural Playspace Project; through its development trajectory, the project has met with a certain amount of ambivalence among certain peoples, whose understanding of art-design working’s in developing their spaces, protecting their spaces in the event of unwanted development seems limited, once again an absoluteness becomes the preferred reaction rather than dialog.
One resident posted on my wall this comment
“Where is the Agreement of Trintoplan or any of the relevant Government Agencies that grants a permit for any Artist or Architect to design on the Open Space of the Orange Grove Savannah. If Trintoplan claims ownership or is a lessor please provide documentation. As a resident of this area and like Mr. Murray born in this environment, yet, I still live here. I have concerns of the physical use of any structural sculpture on this open space and the psychological impact of the theme and essence of the Art in relation to generations and their Heritage relative to the Tacarigua Orange Grove Savannah. Urban philosophical art and design language may have its place and rightly so but in this once rural agricultural village our Heritage needs to be preserved.”
(Trintoplan allowed us to use their space as good corporate, community citizen...but was seen as authority and we must mistrust authority;
Art-Design has embraced a theology of people and environment, working in congruence with both the social and the environment, in Trinidad and Tobago that vocabulary have not reached our architects or designers, they mention their clients; as a hindrance to sustainable, greening architecture, rather than guiding the client to this new vocabulary. I could remember Dr. Bhoendradatt Tewarie, the former Minister of Planning, lamenting how they had to cajole a developer to place of most things, trees!! Into their project.
In the absence of this language of synergy and symmetry, we end up with a confrontational posture. I have always wondered where this comes from,
Trinis have trust issues – Newsday, Sunday March 29 2015 page 43
“We have become so adept at surviving that we automatically assume a mask. In fact after generations of protecting ourselves through this shield, we no longer know what is the mask and what is the self. In effect what Professor Hutchinson is suggesting is that as a people we have had to deal with adapting ourselves to being first of all positions of subordination during periods of enslavement and indentureship. Subsequently we had to adjust to new power relations after independence.
This spells a death to innovation and possibilities, in communities where language is absent, engaging with development becomes controversial and myopic, groups who fight against authoritarianism development, in themselves create authoritarian development, knighting themselves authority, within the rubrics of groups dynamics, their development becomes idealized, their absoluteness resolved in the patriarchal order of defending honour.
“But first, he will need to define the problem. It is not just parking that is killing business but the malnourished soul of the capital that is threatening to put business on life support.
We need a conversation about the capital that is driven not just by the immediacy of business interest but by the interest of all T&T as represented in our capital city”
This points us towards a solutions position, where art-design can raise its head as a solution in defining the problem and developing the “malnourished soul” or creating the “business interest” or “community interest” or “individual interest” that is needed to support the redevelopment needs of a space, for all its peoples, not just a few but as Sunity claims;
“the interest of all T&T as represented in our capital city”.
“the interest of all T&T as represented in our Orange Grove Savannah”
“the interest of all T&T as represented in our communities”
space has rights!
Space also has a right to be of and for the peoples who make that village and the heritages of that village.
If we go back to the “malnourished soul” as referenced by Sunnity, I’ll say many of our spaces are “malnourished souls” never developed to the potential of the village or the heritages of the village...patriarchal development was and is still the signifying order of our development (patriarchy sits within the paradigm of authoritarianism) there was no conceptualization of babies, children, women, differently-able, the aged in our spacial conceptualization.
So we can say we have never nourished our spaces to its full potential, as implied in our constitution, “every creed and race has an equal place”.
So I’ll say in full confidence our spaces are undemocratic and unconstitutional, authoritarian, adult oriented, unappealing, therefore violating the rights of space and the humanity of living to our full potential.
In this regards I’ll argue with the above statement, that art-design have the right to be part of space, as it is in the context of social anthropological art-design, we can achieve a social cohesion as expressed by DOWNTOWN-Revitalization Inc.: - “public and private sectors to create a shared, coherent vision aimed at a series of goals leading to a revitalized and energized town”
In the article – Rowley buys paintings, by Sean Douglas, the Prime Minister of Trinidad and Tobago, Dr. Keith Rowley, acquired a number of paintings by Michael Jean Cazabon, 1813-1888, which went up on auction at Christie’s, London. In the article we hear a Prime Minister, speaking openly about “the philistine nature”, “national heritage” and “cultural nature”,
“Trinidad and Tobago has brought back its heritage of those Cazabon paintings”. Saying that another auction of Cazabon paintings will be held next week in London, he signalled an intent to purchase by dexlaring that if a people cannot defend their cultural heritage, they are not worthy of nationhood.”
In his first post election victory speech, the newly appointed Prime Minister of Trinidad and Tobago’s first major act was to acquire lost paintings of our historical landscape, our memory, which will be presented to the nation in a national exhibition for the 2016 independence celebration. This investment is alleged to be around $3 million TTD.
As I listened to the response on Power 102.1FM radio, the response to the investment was half and half; those who understood the importance of heritage and memory and others in absolute opposition.
The “Harvard’s “Black in Design” Conference: Addressing Social Injustice with Design”
Harvard University Graduate School of Design (GSD)’s first Black in Design conference, which was sold out, is a particularly important as a “Black” and “Brown” country as it brings to the forefront this phenomenon of design in negritude or coolitude (as I learnt in the Indo Caribbean Symposium), as the students expressed.
“Addressing social injustice through design starts with two steps: revealing “the histories of under-represented groups in design,” and acknowledging that designers have a responsibility to “repair our broken built environment.”
Also identified in the conference was and is, exploitation, absence, treatment of a minority peoples in the development of our spaces. This erasure is being addressed by a white and black consciousness within the design community, at least at Harvard’s; they’re innovating, recognizing and developing in marginalized spaces this consciousness, this consciousness is being received by communities, why? I’m of the feeling that these communities have recognized this absence, they have seen their malnourishment...what it has done to them and a people who recognizes their thirst, and they’re willing to drink from the pool...
“Dümpelmann spoke of the need to revise landscape history to include African-Americans and women, and topics like segregation, emancipation, and multi-racial landscapes. “Survey classes,” she stated, “need to address race.” She cited just a few topics worthy of study, including Frederick Law Olmsted’s “Negro Parks” in Birmingham, Alabama; park as tools of racial segregation; and the spatial layout of plantations.”
It was stated, if we expanded the definition of the designer while revising history, we’ll be able to undo marginalization of the black and colored peoples
ConclusionOn a social and political level the protection of space and heritage is on the table...what is the disturbing is the relationship of the conversation, the constituents, communities are arrogant, ignorant, and angry at a political system which has created this atmosphere through corruption and undisciplined behaviour, architects, planners, designers and artists community are silent or not in synergetic relationship in creating language; how can we come to that special position of understanding how we can deconstruct this material consumption philosophy or the internal cynicism towards design development . I’m at a point in understanding, from a theoretical, philosophical and political consciousness, social art-design possibilities in modifying our behaviour, I see art-design in educating, elucidating our space, our modernity, while preserving the sugar cane plantation in us all.
“ Memory Design – is the recognition of the historical realities of space, people, architecture, and the objects’ new desirability in achieving harmony in communal spaces. To achieve this theoretical understanding, will mean exploring our communities past, eventually capturing it in iconographic symbolic meaning. These symbols or our past will be imprinted onto the object, at times directing how the object is defined, becoming the object themselves.
Designing from memory has the possibility of revolutionizing the desirability of the consumer-able design product. Challenging how production, imperialism and capitalism can operate within a space, a community and nation. Designing within memory holds the possibility of evolving new paradigms for art, sculpture, architecture and design; which in turn can create greater opportunities in healing spaces with traumatic histories, spaces at risk, space looking to capitalize on its rich stories, people looking for a modern identity through branding and economy”
Pg-15 – The Tacarigua Sculptural Playground, Bringing Art and Education to Public Spaces, Catalog - https://www.facebook.com/artdesignplayspace/?ref=bookmarks
|The Double Swing Set|
The art-design community which I belong, needs to be more proactive in this dialog, stop being separatist in our actions in development of theory, individualist in our organizations, classist in our conversations, fearful of power, fearless in our pursuit and be true to the political and philosophical mooring of art-design to our development of a national regionality innovative language.