The Journey of PANTY MAN and other embroidered TEXTS

The pejorative word PANTYMAN (2021) is derived from street slang meaning an effeminate or hen-pecked man. A man whom a woman dominates. This singular piece was made for a group show titled DUALITY - Y Gallery - Woodbrook Port-of-Spain.

This is an interactive work. The viewer must move their bodies to ‘read’ the piece. The quilt is a symbol of nurturing, safety and warmth. The loose threads symbolize the unraveling of that safety. We generally expect men to be ”men” with all that is implied. Both historically in Literature and the Arts a man is portrayed as physically strong and a provider and protector of women and children. This plays into our psyche’s so deeply that for many, we are completely unaware of how much our stereotyping of the male sex confuses boys as they grow to manhood. I hope that my piece shall inspire those who interact with it. I also hope that by viewing the individual words that one will take the opportunity to consider when they themselves have perhaps used terminology seen on the quilt or words to that nature to define a man’s character. We are all guilty of a level of sexual politics for its own gain and must now consider that sensitivity is not a one way street.

coward

macho

hit she

moody

lewd, rude, crude

liar

crude, rude

Language is a MOTIVATOR in my EMBROIDERY

THE SPARROW SHOW - 2018

I was asked to be part of a group show at THE FRAME SHOP - A space Inna Space. The theme was The Mighty Sparrow - our Calypso music Icon and Master. I chose to use the titles of three of his popular ditties for my tribute to his staggering talent.


The Sparrow Show - Marajin

Congo Man

Mr Benwood Dick

Words wrapped in THREAD become SilKy, seductive Strands leading you down an unsuspecting PATH

VIOLENCE BLOOMS - 2015

This environmental embroidery focuses on the contradiction of the wild Anthuriums in the forest ( shaped like hearts) and the color of blood - morphing into the shapes of gunmen who hide amongst the lush foliage. Long strands of red threads anchor the piece and dimensional embroidered letters form the words that suggests the sound of gunshots- pax, pax and dhow, dhow.

I USE soft materials to discuss HARD topics

STAIN - 2014 - 2015

This group show that took place at CCA:GLASGOW shows my dimensional embroidery where my focus was on women and the derogatory names that they are called or referred to by men, children who repeat what they hear and even other women.

bird, tramp, jump off, bag, bat, hussy, broad

sketel

wild, prostitot, shiksa

doll

early sketches for STAIN one has to look up at the playful, brightly colored canopy of words - a reflective moment between the viewer and the installation - unbeknownst to the viewer of this piece, as you stand reading each unkind name that women have been called, the canopy casts a shadow over you - so that you become swept into the very reading of the work - thus becoming STAINed.

frigid, spinster and nympho partly in shot.

PATRIMONY - 2015

When no one wants to show experimental work, you make your own gallery. My Partner Richard Bolai and I became so fed up and worn down by the cliché(y) Art Gallery system that we encountered in Trinidad and Tobago. We decided to use our own houses to have solo shows. PATRIMONY shown at Mary Avenue Diego Martin, discusses the disillusionment felt at the time with the then Prime Minister, The Honorable Mr Patrick Manning. I took the Coat of Arms, made it larger than life - wrapped the elements in red thread - using one of our three national colors RED that is also a symbol of blood - to connote the feelings of despondency and anxiety felt by our citizens. It was the early period of fake news. A time when Trinidad and Tobago was used as a guinea pig by Cambridge Analytica as a political engine to usher in neopolitical propoganda. The title PATRIMONY includes the name Patrick as a double irony on the meaning.

THE PLACES THAT SCARE ME - 2008

At a very difficult time in my personal life when I was getting divorced with a two year old being pulled and tugged in a custody battle, my work became an anchor.

In the midst of heartbreak and great disillusionment, Thread reached out to me in the most natural way.

I felt it necessary to drape myself.

Words formed and then statements that I glued together.

In forming…you were my world…and draping it onto my skin, at first I internalized a mental lashing of sorts. But then I was surprised by the fact that in placing the letters - in the actual reading and the meaning - there became a dis-association between myself and what I was labeling as my angst and hurt.

It began to reflect between both myself and the person I loved and now such an estrangement! That unassuming act of thread on naked flesh served as a balm in a sea of pain.

I deserve better

you were my world

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