Quick links: my home page • my blog • Choosing My Confessions
On the map
By Nicholas Laughlin
A version of
this article was published under the title “Inspirational island” in Culture
+ Travel, January/February 2008
Visiting New York recently, I found myself
having the same conversation over and over with the artists and
curators I met. It would start when they heard where I was from.
“Trinidad!” Their eyes would light up. “You have a couple of big
artists there.”
They meant, of course, Peter Doig and Chris Ofili: British art majors
of the 1990s, international art majors of today, both of them now based
in Trinidad, a geographical fact well known in the art world.
Invariably, a question would follow: “What are they doing there?” Doing
what artists do anywhere in the world, I suppose: working, talking,
looking, living. But of course that’s too simple an answer—as Doig and
Ofili themselves know. “People ask, ‘why are you there?’” said Ofili in
a recent interview. What does it mean for two of today’s most
successful and influential artists, stars of the museums and
auction-houses, to move their homes and studios to a rather out-of-the
way island known to some for its calypso and Carnival, to others as the
birthplace of V.S. Naipaul? “And why Trinidad?”
For Doig, at least, this is a kind of return—he lived here with his
family in his very early childhood, in the 1960s. (His parents
collected paintings by some of the island’s “Independence”-generation
artists—Trinidad and Tobago was a British colony until 1962; it’s
intriguing to think these were likely the first artworks he ever
encountered.) Nearly forty years later, Doig returned to Trinidad on a
short visit, and rediscovered the manic pulse of a small, unruly
society in the throes of a natural gas boom, and a feisty art scene
with its own traditions, debates, and “canon”. Something must have
clicked. In 2002, he moved his family here; from now on his bio note
would describe him as a Trinidad-based British artist.
His friend Chris Ofili followed three years later. “Changing locations
heightens visual awareness,” Ofili remarked in a dialogue with Doig
published in 2007 in BOMB.
“What’s been exciting is living in a place where you want to take
photographs every day.” In the major art centres, critics and curators
began to take note. The snowfields once characteristic of Doig’s
paintings were replaced by elements of Trinidad’s landscape. The
paintings in Ofili’s 2007 New York show Devil’s Pie contained sly
references to his new home. Even the posters Doig paints for his weekly
film club—which have been exhibited in museums in Cologne and Zurich,
and at the 2006 Whitney Biennial—were originally inspired by the
concert and party posters that are a ubiquitous feature of Trinidad’s
urban landscape.
*
But what does it mean for Trinidad’s own contemporary artists that
their country is at last a “real” point on the art world map—because of
the presence of these foreigners? Exposure and access to that art
world, an outsider might think, and to new ideas and trends. But
Trinidadian artists have long been outward-looking, and painfully aware
of the (strange) problems and (stranger) privileges of existing on the
“periphery”.
It was a dilemma confronted head-on by a group of younger artists who
came back to Trinidad from art school aboard in the late 1980s, and
found a local art market hungry for nostalgic watercolour and acrylic
renderings of tropical topography. Their work immediately triggered
debate and dissent. Steve Ouditt experimented with public murals and
worked with a group of actors on a project that was part Carnival band,
part performance piece. Edward Bowen’s enormous graphite-on-paper
drawings played with local expectations that only oil paint on canvas
could constitute a “monumental” artwork. Irénée Shaw’s
unsparing and often nude self-portraits infuriated conservative
audiences and confused critics. Her husband Christopher Cozier made
pioneering performance and installation work, and his essays in the
venerable Trinidad and Tobago Review
won him enemies even as they changed the terms of the contemporary art
debate.
All these artists showed their work abroad as often as at home, and
they remained critically aware of what was going on in art centres like
New York and London. From the ferment of their conversations was born
the institution that would connect Trinidad definitively to a wider art
world: Caribbean Contemporary Arts, better known as CCA, founded in
1997. Led by Charlotte Elias, CCA staged exhibitions in borrowed
quarters before taking up residence in a converted rum warehouse on the
outskirts of Port of Spain, where it administered a gallery, hosted
dozens of visiting artists and researchers, and acted as a
clearing-house for Trinidadian artists looking to extend their practice
abroad, until it shut down in 2007.
It was via CCA that both Doig and Ofili found themselves in Trinidad
(Doig still works in a studio at the back end of the former CCA
building). They arrived to find an inside-outside, local-foreign
conversation already heatedly under way. Choosing to stay in Trinidad
also meant choosing to join in.
*
What does that conversation sound like? A good place to eavesdrop is
StudioFilmClub, run by Doig and his friend the Trinidadian artist Che
Lovelace. Five years after its first screening in February 2003,
StudioFilmClub has something of an international reputation, thanks to
Doig’s posters. But here in the “back studio” with its lofty ceiling,
unglazed windows, and bare concrete floor, adjacent to Doig’s actual
working studio, the atmosphere remains casual, even makeshift.
Art-house movies are projected onto a white-painted wall, the audience
reclines in plastic garden chairs, and afterwards Doig turns iTunes DJ
while a motley crowd gathers around the self-service bar. Ofili is a
regular; you might also run into a New York gallerist or a German
curator chatting with local artists, musicians, and film buffs. They
might be talking about a new experimental film brought back by Doig
from some biennial, or about Infinite
Island, the major survey of contemporary Caribbean art that ran
at the Brooklyn Museum last year, or about an upcoming concert; they
might just be gossiping.
Improvised spaces like this have always been more important in Trinidad
than formal institutions. Galvanize—a groundbreaking six-week arts
programme, led by artist Mario Lewis, which ran in 2006—challenged
artists to take their work out of white-walled boxes, in favour of
“galleries” like a tattoo parlour, shop windows, the walls of derelict
buildings. Three Galvanize artists—Marlon Griffith, Jaime Lee Loy, and
Nikolai Noel—subsequently formed a loose collective, and in January
2008 they colonised a vacant city lot with an ambitious house-size
installation.
Most promising is a modest but rapidly growing experiment called Alice
Yard: literally the backyard of an old house in west Port of Spain’s
Woodbrook neighbourhood, where architect Sean Leonard, with the help of
Christopher Cozier, has built a tiny, perfectly proportioned gallery.
Alice Yard hosts an ongoing series of artists’ projects, with
performances and readings every Friday night, free and open to the
public, part art event, part social hangout. Hastening slowly, Leonard
plans eventually to incorporate a studio where future
artists-in-residence might work. On an average Friday night you might
bump into a dozen artists, Doig and Ofili among them, drinking beer and
enjoying the grooves of an amateur DJ.
It’s spaces like this, surely, that convinced those two art-stars to
make a move that puzzles metropolitan observers. “I don’t think
Trinidad’s an easy place to be an artist,” Doig says. “For me there’s a
sort of overload.” Ofili adds, “It’s not possible to do the Gauguin
thing here…. It’s not about escaping reality. Trinidad is more real
than other places.”
No more, perhaps, but no less. Just as real as anywhere else.