Monday, June 4, 2018

THE TACARIGUA SCULPTURAL PLAYSPACE PROJECT&INTEGRATED FOOD SPACE In Redesigning Public Art, Rethinking Architecture.

THE TACARIGUA SCULPTURAL PLAYSPACE PROJECT&INTEGRATED FOOD SPACE 
In Redesigning Public Art, Rethinking Architecture.

THE ABOVE IS A CONCEPTUAL RENDERING OF THE INTEGRATION THAT IS HAPPENING


"Looking at Development through Art-Design...

As we go further and further into this conversation of development and heritage. We have forgotten how we can use art-design as a methodology to solve  issues
related to the management of space. Through social dialogue, we can map-out how in the future activities in the Savannah can be developed and maintained, even the contradictory demands on its usage. 

Many are not aware of the structural possibilities of art-design to transform community spaces, which have multiple uses. Developing a space that incorporates democratic values and environmental sustainability means yes, establishing boundaries, drawing the line and sticking to that line, both at the state level and most importantly at the community level.

Currently our spaces are not: 
  1. democratically developed to enhance the wonderful properties of the green space. Our spaces are developed for adult physical activities (mainly masculine activities)  and have excluded 'other' users due to the oversight of our planners. These 'other' users include the elderly and children who simply want to play or sit and enjoy the green ambiance. Play is undervalued in Trinidad and Tobago, the child or teenager who wants to relax quietly under a tree and read, getting away from parents in a meditative environment has no space to do so. I was once fortunate to see the original plan by Architect, Colin Laird 1950-1960's design of the early Orange Grove Savannah.  It included a ring of trees, spaces for people to play and chill as well as for football and cricket.  The conversation around heritage, is therefore also a conversation about landscape design and management.
  2. adhering to any philosophy in relation to the use of community space.  There is the responsibility of the Regional Corporation to support the interests of diverse groups of  burgesses, and there is the right of a community to protect what it sees as important, all knocking at each other.  
Then there is art-design and citizens and burgesses interested in the aesthetics, heritage and inclusiveness of the space, wanting an opportunity to present to citizens, the potential to respond to both sets of interests through evidence-based  possibilities in ways in which the community would be proud. The link below probably summarizes better than I do the ideas that I have been trying to present. 


The use of art-design in enhancing community aesthetics based on consultations and conversations with community members, provides an opportunity to develop communities along the lines of innovation, social justice and progressive social aesthetics. Unfortunately our one-dimensional education system has systematically undermined  the native creativity and artistry of our people, pushing it underground into criminal and anti-social behaviour. This is an opportunity to contribute to the Trinidad and Tobago that we all want and need."

The above, statement was made in an open Save the Savannah email, copied into the email was the Chair of the Regional Corporation, Councilors, Pennsylvania University colleagues, Planning people, Geographers. All in opening the dialog.
It was it this moment, things changed, for the Tacarigua Sculptural PlaySpace Project, as the project has been embraced as a methodology in resolving some of the issues.

 have the opportunity in placing art 
into an architectural methodology, 
creating a sculptural planning methodology. 

NEVER WANT TO BE SOLELY LOCATED IN PLAY. 
IT WANTED TO PLAY IN COMMUNITIES, 
ALLOWING COMMUNITIES TO BE PLAYFULLY AESTHETIC.
iN all their wonderful, beautiful, empowering aspectS of themselves.

IS A METHODOLOGY STEEPED IN THE SOCIAL/THE ANTHROPOLOGICAL


WANTED TO HIGHLIGHT @ THE CENTRE OF PLANNING THERE MUST BE AN AESTHETICS.
THIS AESTHETICS DOES NOT REALLY HAVE TO RELY OF ARCHITECTURE,
AS MUCH AS ARCHITECTURE SHOULD RELY ON IT.

 an aesthetics steeped in art - not art, as we speak of it; hanging on the wall, 
art as an anthropological meaning, 
seeking the internal meaning of the being, 
the heart of creation, 
the indigenous, 
primal thought, 
stripping modernism, 
to fulfill truth
PLACING IT WITHIN THE INFRASTRUCTURE OF THE LIVING

has these potentialities to see art integrated into planning, acting as an agent, extensions of peoples imaginations, this leap comes with lots of embracing or having confidence in the artist's process.

this is where we sit, in bringing together the data, which can drive essence...this is the question, of the "buy in", I place THIS question to Prof. Lesley Lokko. With all the bright eyed dreams of radical innovation, most post-colonial communities suffer the doldrums of innovation, real social development, The kind that pulls community with it.....there is a reality of a political maleficent, weighing heavy on the shoulders of social creativity.
we must be willing to push the progressive conversation of this meaning, as it challenges all corners of our aesthetic understanding...

THAT IS THIS NEW ART!

Tuesday, May 8, 2018

A SHORT MEMORY OF FOOD AND SPACE- The Tacarigua Sculptural PlaySpace Project - in Integrating Food and Play. Creating a new spin in playing food.


A SHORT MEMORY OF FOOD AND SPACE.
The Tacarigua Sculptural PlaySpace Project - in Integrating Food and Play. Creating a new spin in playing food.



I remember food, I remember Mr. Lal, (who owned a small wooden shack/shop on the south, western edge of the northern football field, bounded by the Orange Grove Road and what is now the Priority Bus Route). We will stop there on our way to and from church, this was the routine, every Saturday, Mr. Lal, as I knew him, was the first vendor and as I came to learn, an illegal vendor, which the The Tunapuna/Piarco Regional Corporation had to settle with him to remove him.

As time went on, I grew; there became popular for foodies, and vendors alike, time will slow down, as we steeped out of maxis, to walk south into Trincity, mind you the original Trincity was designed by architect, Colin LairdTime stood still as we will hang out with the coconut vendor, with a little rum being brought by all to consume with the cool nut, other bredrens will fall in. The Coconut Man, was there long time, then came others, not sure who was first or last, they just came, then there were options to go with the lime, 

  • Fruit
  • Doubles
  • Cooked Food 

There was a varying degree of permanence, people seem to come, to go, I'm familiar with The Coconut Man! they have been there in my teens, man dem dey still!

AN ERA HAS GONE, ANOTHER HAS ARRIVED!
Now, that era has changed, through a social art-design methodology, we're in the process of evolving the space, the community in understanding how vending will happen in the Trincity, Tacarigua, Orange Grove Community. Through an act of collaboration, with the state, and long term collaboration, as an artists, I have learned many languages, 

  1. the language of the architect
  2. the language of the state
  3. the language of community

 The language of the architect,
I have worked with Architect, Sean Leonard, in shaping this idea for multiple presentations, politicians, corporate and community, each having interesting challenges. But none more challenging than the artist! This collaboration has been a long one since the early 2000!

WORKING IDEAS, WOKING IDEAS, STAYING IN IDEAS
I have worked in collaboration throughout my career as a creative thinker, working with welders, designers, craft people, all varying degrees of negotiation...the challenge of the artist, working with multiple players in the game, is keeping the integrity of the project alive, keeping the essence of the project intact, it's integrity....

As an artist, working this route, also accept that ideas, 

  1. evolve, 
  2. morph, 
  3. distill, 
  4. contract, 
  5. expand 
While understanding, as these things must happen, one thing that must be defended at all cost is the fundamental philosophical intention of the art-design project.....that one ingredient, which makes innovation happen in space. This is something, I have never really had to battle with Sean, there is that unique respect for the intention of the project, what we want to achieve, the willingness to see it achieved. 
There is debate on; how space can be 
  1. operationalized, 
  2. materiality; i.e. how do we use certain materials, plastics versus wood
The collaboration has opened up my understanding of the translation of ideas, while understanding the practicality of the construction industry and the craft person. 
In our group conversations, we have run afoul with that, misunderstanding, one opinion, stood their ground concerning pricing of items, for the playSpace, even when we're given assurances that this was normal practice in the industry. Understanding the many angles, to bringing something into spacial being from an architect's eye, has been my learning curve.

For Sean, I guess, he's learning as well, on collaborating with an artist's angst, let not forget my colleagues in the NGO, Dada&projects, who for real! learning the artist angst, this has been thrown on the table, most recently.

HOW TO DEAL WITH CREATIVES
RESPONSIBILITIES IN CARING FOR CREATIVE IDEAS
COPYRIGHTS, WHO OWN WHAT AND WHEN
HOW TO CARE
CONTRACTS
ROLES IN MOVING IDEAS

These sound simple, but it is one of the main! reason, we have not been able to tap into the cultural diversification of the country. As the state and further, our peoples, have no idea, in how to embrace, the creative.
This is what we will challenge as we move forward with the Tacarigua Sculptural PlaySpace Project. I hope I'll be able to work it out, come to some understanding, here through these journals.
But as we go along, I hope we can get a geographer to map the project, as it negotiate space and state.

  

Thursday, April 19, 2018

WORKING THE HAND - ART-DESIGNING TOWARDS A SOCIAL AESTHETIC PLANNING METHODOLOGY.



WORKING THE HAND - 
ART-DESIGNING TOWARDS A SOCIAL AESTHETIC PLANNING METHODOLOGY. 
The Tacarigua Sculptural PlaySpace Project, in Conjuring State Politics in Embracing Social Aesthetics
Journal - #0001
Thursday 19  April, 2018

PHASE-11
Dean Arlen-artist, Aaron Thomas-Councilor,
Emuel Dennis-Engineer, Sean Leonard-Architect
The Tacarigua Sculptural PlaySpace Project, has taken on a new phase in its development. I have learnt from moving things through this space, things drop in front of your pathway, they come from the side, top, ripping through the floor....it comes, it comes, it comes. The smile in it all is how I (we) have been able to deal with these conjuring. The Eddie Hart Savannah, aka Orange Grove Savannah, is a part of my experience, I have grown up watching sport happen there, I belong to that group of people who came to space to chill, I have always found that the Savannah was not about chilling, more about active play, organized male playing, i.e. football, cricket. 

Boom the Tacarigua Sculptural PlaySpace Project, evolved, through my experience as an artist growing in my education, finally coming to paper and pen, at Ontario College of Art and Design, through the installation program, I shaped the idea, of sculpture, being multi-functional, allowing people to play, engage in their energies.
On returning home, this was hard to sell, so I added "play" to "sculpture", "Playing Sculpture"....now, how that was read? was it recognized, cause people are focused on the play, and for some reason, do not understand this as a art (or even the transformational properties), even my colleagues, can't see the art in a project which seems more like a design project...
so, hey!
ART-DESIGN! OR ARTDESIGN
Which allows us to have a democratic conversation about aesthetics, where a hegemony has been created by designers and architects, in squeezing the visual arts out of the commons. When we have always been there. We never left (if we understand tribal art and culture)...this can happen in a later post.
So the 
The Tacarigua Sculptural PlaySpace Project 

As I have mentioned, allowed me to understand the nature of developing ideas in a space, ambivalent to ideas, ideas which don't come from withing the political main advancement, 
PARTY POLITICS.
Party Politics, have shaped how things move in this country, and I have had interesting responses from all parties, I have sat with
PNM
UNC
COP
MSJ 
I have sat with the regional corporations, commission of state lands, Town and country, corporate and community.

COMMUNITY LITERACY&CONVERSATIONAL INTELLIGENCE& showing love
Here, is the main core of things, do we understand how to embrace innovation, do we understand how to love, is another way to look at the question. I have never to this point; in negotiating this project, anyone ask, 
"HOW CAN WE HELP?"
Maybe, if it was said, it was said in such a low tone, I missed it. There is this political masculinity, which ascribes a certain amount of handle your stories.
Then they themselves, exclaim how things are hard, the systems is confusing, yet they're the architect or the gate keeper of that system.
CONSISTENCY, has some dividends, the other day, the corporation embraced the idea, 
for the first time in a long time

I felt included in development.as a an artist, as a citizen. 
Due to certain events in the community, removal of certain activity and placing that activity into the jurisdiction of the Tunapuna/Piarco Regional Corporation, TPRC. Which is The Eddie Hart Grounds, aka Orange Grove Savannah.
Me and my colleague are now working towards making these new adjustments, which brought up interesting innovations to space and how we make use of our space, inclusive of all our people (s).

CARING FOR INNOVATION
Now as we negotiate this idea through space, I'm weary of how the state understand, fully the potential of a social artdesign project to engage the negative behavior, while at the same time placing positive behavior in our community. 

for this to work, we need to invest in social training and consistency in keeping this system going, till it is ingrained into the culture


  


Innovation isn't easy to tract, this journal is an attempt to tract a art-design project, through space,

  1. For archival purposes
  2. The ability to understand the internals of innovative project development

So stay tuned


Monday, February 26, 2018


THE REDESIGNING OF THE STUDIO
The artist and their space is a personal interpretation 
of the individual pursuits, ambitions. 

My studio has been a refuge from dis mad world I live in.
It is a place, where I can make sense of what is happening. Continually I have been attempting to blur 
the line at how the work in my personal space can move 
further into the development and planning of space, 
challenging the product of the personal space, 
the studio!

2018, and before that I have been working in a methodology, where
I have been able to make urban proposals The PlaySpace File, shows the work that we have been proposing. So looking at how my space functions, in making. I have realized that The Studio, needed to take on a more ambitious look to engage from a hand to eye, challenging, this artists control, understanding and re-educating 
oneself of materiality.

DESIGN CONCERNS
Space,has it own value; my space is intimate, small, private, multi-functional in the everdayness of the house, it is a garage, it is a place to shelter from the rain, there is a bathroom; so it is used by workers who come into do work on the house.
in coming to a art-design solution, without compromising the green values of the landscape, 
1. - I have attempted to expand with that in mind, an extension of the roofing on the south value of the garage, gave me more space to work and cut down the rain coming into the space, 
2. - then I placed a grid, allowing for the removal of electric cords on the ground, safety, ease of movement, the grid also upgrades how, I can use the space, in taking photographs, doing video art work, etc.
3. - The Storage Room - I brought the roofing out on the west elevation, added a little more shelves, got rid of useless, things, which is hard for a collage artist, all things have value.
4.  - Landscape - I'm of the opinion that the landscape can be used to be part of the future storage needs, store in plain site.

here is one example of the grid at work, allowing the hanging of canvass. Photographing one
of four sculptures part of The Toxic Form Project.




FUNCTION AS A FORM, TOWARDS AESTHETICS
Storage,where do you place the work, the solution develop a moving
storage space, where I can hang, the canvasses, into the landscape


The above sketch is of the painting closet, which which will be stored in the landscape, between the plants. Concerns will be 

1. humidity, 
2. air flow, 
                3. ability to take weathering




THE WORK SPACE, THE WORK BENCH
The above looks at how the space will work, in a circular operational mode, both clockwise and anti-clockwise in its
ability


THE LANDSCAPE - STORING IN PLAIN SITE
Including the landscape to be part of the storage plan, rather than a hindrance, using vetivere to partition space, placing object as both sculptural and functional into the space, using the mango tree as storage.




TOOLS
Tools, is important to working in this new methodology, of constructionist frame. When this happens, although the brush and pencil is important, other tools are now, finding their influence on the canvass. The Toxic Form Project, as much as it is a collage, process, the art, is one of sculpting, constructing a surface. Tools, now become an extension of the eye and hand

 THE STORAGE SPACE - 
now in reorganizing the space, there is a little wiggle room








conclusion
The studio, of the future of artist, will need to be vigorous in it making. I have postulated, that the new Trinidad and Tobago, artists, or at least this artist, needs to enter the discourse of planning and development. 
What this means, for the 
1 - artist
2 - the work
3 - the studio
This means, the studios, private indulgences will evolve. To what? an inclusive genre of participatory aesthetics, which will provide another economy, for the artist.
We're not quite there and this will take time to evolve. But I can say this, when you go to the Regional Corporation,statutory meetings, look on the board, there is a committee, which has aesthetics as part of title. 
This isn't much, because, what they mean by aesthetics, is not my understanding of aesthetics, but being there means, we can have a dialog with them about that word.
When this happens, (this should be a conversation we as an artists community, should be having consistently with our leaders and community) we should be able to be in 
Social Development Aesthetics, truly functional form making, rather than mural making, (not knocking murals) just knocking the simple levels they consider me, the artist in community development.
  

Sunday, December 31, 2017

LAST DAY THOUGHTS
LOOKING BACK 2017 AND FORT 2018

THE WORK BELOW, WAS PRESENTED IN THE 
THE WORK ALLOW ME TO HAVE FUN, WITHIN A SMALL FRAME, I ENJOYED THE ATTITUDE AND WILL CONTINUE TO WORK WITHING THE SMALL FRAME
TRANS MAN- 14"X16", MATERIAL-Acrylic, Graphite, Ink on canvass Date-2017

TRANS-MAN-2017- Materials-acrylic, graphite, ink, canvass


TRANS-MAN-2017 - Dimensions-14"X16", Materials-acrylic, graphite, ink, paper, glue


TRANS-MAN-2017 Dimensions-14"x16", Materials-acrylic, graphite, paper, glue

On this last day, I felt it fitting to look back at what has happen in this 2017, as an art maker. Lots have happened and will continue to happen way into the new year. One of the happening things, was my visit to Pennsylvanian University to meet Prof John Jackson, Dean of, THE SCHOOL OF SOCIAL POLICY AND PRACTICE, and Aaron Levy, Director of SLOUGHT FOUNDATION 
 
Add caption
Above, photo-1-Prof. John Jackson.....Photo-2 - Andrea Ngan and Aaron Levy, both of The Slought Foundation

The opportunity to develop a collaborative relationship around the work, we have been developing around art-design in developing community spaces, is something I'm interested in seeing happening.
What will happen, if we invest, time, into a space placing the necessary needs into that space? 
While doing that, everything that happens will have serious aesthetic value, even if it is placing a table into a room. 
How will social development look.
THE ARENA SAVANNAH PLAYSPACE PROPOSAL

THE EAST MORVANT PLAYSPACE PROJECT PROPOSAL


The two photos above, are two examples of proposals made for two communities. There are interesting back stories to them, which we will like to document, in learning how our space invokes certain hurdles in supporting innovation. A story aptly exemplified in 
This story is filled with an artist struggles in moving in and out of space.
If you wish you can view more of the work in the PDF file
This should give you an idea of the work we have been attempting. Getting our people, community, institutions, corporations, that making social art-design, takes time, time, time!

ART
One of my most memorable moments and will continue into 2018, which I hope to present sooner than later is the Toxic Form Project, which will be the presentation of 18 paintings and four sculptures.
What I like about this particular project is the process. 



From, developing the molds, filling them with expanding foam, papier mache, then finding a low pressure spray gun, to spray them.

The experience, gave me the opportunity to work with my with my hands, getting back the confidence and seeing wider possibilities in developing the sculpture, in different forms and performances, which can happen in future projects.

THE STUDIO
This brings me to the studio, as the year is ending, I have been actively developing the work space, rearranging it, so I will be able to explore, confidently the 3-dimensional, the functional, the products that we live and certain performances, which I have conceptually developed and proposed.
It is wow when working in a small space, how creative one will have to get to store paintings, tools, machines and materials. One solution in storing in plain sight. As well as getting rid of stuff!




WORK IS WORK, 
SPACE IS SPACE, 
PEOPLE IS PEOPLE
WHAT I HAVE LEARNT,
ART INVOKES...
POLICY,
ACTIVISM,
COMMUNITY,
ECONOMICS.
ART INVOLVES WORKING
IT ALL
WHAT I'M AWARE NOW MORE THAT ANY OTHER TIME THE ARTIST OF TRINIDAD AND TOBAGO, WILL HAVE TO ADAPT URBAN PLANNING METHODOLOGIES IN FINDING SPACE IN THE DEVELOPMENT PARADIGM.
AS THE ECONOMY CHANGES, IT WILL BE MORE EVIDENT THAT THIS WILL NEED TO HAPPEN.

HAPPY NEW YEAR
DARLEN

Friday, March 17, 2017

RESUME - 2017 - UPDATE

https://drive.google.com/file/d/0B5Vg_pNPKFOrSW8teWtkWGdScms/view?usp=sharing
Resume's Link 






RESUMÉ


DEAN ARLEN

                                                                                                     
#1 Liberty Homes,
St. Johns Extension Road,
St. Augustine,
Trinidad and Tobago,
Caribbean.

  Tel- H-1-868-662-7076/C-1-868-722-6153
                                     Email: dean_arlen@yahoo.com
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.

EXPERIENCE:    2016-
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
                              https://www.facebook.com/darlenprojects/photos/a.
                              2016-2017 ongoing
                             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.
                              2016-2017
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.
2016
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.
2012
                             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.
                              https://youtu.be/wmRwDovQiPI
2011
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
2011
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,
March 24-26.
                              2011
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. 
2010
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.
2006-2009
                             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.
2008
The Red Earth Festival: Built and presented the installation - The Deprivation Chamber at this An Eco Art Festival, Trinidad and Tobago.
2008
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.
2007
                                    Convener of The UWI Sculptural Project,
                                    2007
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.
                             2006
                              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
2005
                                    Several Group shows held at Eddie Bowen’s Studio
2004
                              Worked on several independent projects, one of
which was to establish my own company, DArlen
 Ltd.    
2003
Installation “Red Devil Tail” at Co-Sign, a project of Basso Leonard Architects Collaborative (BLAC), Port of Spain, Trinidad and Tobago.
2002
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.
2000
Assistant  to  the  prop master  on  the  film The Mystic  Masseur, a  film  by  Merchant  Ivory  Productions.

Annual Exhibition, Trinidad and Tobago Art Society.
1999
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.
1998
Division  of  Gender  Affairs, Ministry of Culture and  Gender Affairs, Government of Trinidad and Tobago and Shebang  Media, USA -   Conceptualizing  videos with other  artists -
1997
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.
1996
Trinidad and  Tobago  Art  Society, Annual  Exhibition
1992
Dean & Zoya”  Exhibition,  Eddie  Bowen  studio .
1991
Design  artist: Crossover  Design  Ltd.
Young  Artists  Exhibition , Aquarela  Galleries
1990
Art  Dept., Trinidad  and  Tobago  Printing  and  Packaging Ltd.
1989
Trinidad and Tobago Art Society Annual Exhibition,  Central  Bank, Port of Spain .
Visual Arts Environment Exhibition,  Gallery 1234


EDUCATION

1994-1996
Ontario  College  of  Art  and  Design, Toronto, Canada.
1991-1993
Creative Arts Centre, Faculty  of  Arts & General Studies, The University  of  the West Indies, St. Augustine campus.
1986-1998
Craftsman’s  Diploma  in  Jewelry Design & Production, John  Donaldson  Technical  Institute, Port of Spain, Trinidad and Tobago .
1979-1983
Fatima  College (Secondary School).

AWARDS

1997
First  prize - Inter  American  Development (IADB) Bank  Design  Competition .
1994
Commonwealth  Fellowship  to  the  Ontario  College  of  Art and  Design, Toronto, Canada .
FUTURE PROJECTS

2016 AND BEYOND

Setting the goals to develop a multi disciplinarian studio, inclusive of art, design, video and farming.

ARTICLES
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
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/


Dean Arlen