Creole Portraits III (detail from suite of lithographs by Joscelyn Gardner)

Drawing on a family history in Barbados that dates from the 17th century, I use a postcolonial feminist methodology to probe colonial material culture found in British / Caribbean archives in order to explore my (white) Creole identity. Working primarily with printmaking (stone lithography) and multimedia installation (video and sound), my work ruptures patriarchal or colonial versions of Anglo-Caribbean history by subverting 18th and 19th century European pictorial conventions and methods of documentation through contemporary appropriation / interven-tionist strategies. I aim to articulate the intertwined historical relationship shared by black and white women in the Caribbean by recognizing that under patriarchy and colonialism the lives of all Caribbean women have been shaped by "mastership". Through re-inserting the voices / images / traces of the women omitted from this history, I attempt to "speak the unspeakable", retrieving atrocities that lie buried in our collective memory in order to reconcile the past with the present and move toward a metaphorical healing of historical wounds. My project also aims to address the repression and dissociation that operate in relation to the subject of slavery and white culpability in the wider postcolonial world.



Mimosa pudica (Yabba)

hand-coloured stone lithograph on frosted mylar

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