big River2
25th March - 9th April 2001

Grande Riviere, was the site of an International Artists’ Workshop held in Trinidad from March 25th to April 9th, 2001. The workshop was hosted by Caribbean Contemporary Arts (CCA), (a Trinidad-based international arts organisation), in collaboration with the Triangle Arts Trust of London, UK. The workshop, named ‘big River2’, included artists from Trinidad, Barbados, Martinique, Cuba, Dominica, Argentina, Kenya, Haiti, the Dominican Republic, Venezuela, Jamaica, Columbia, India and Mexico.

The artists worked and lived for two weeks on the north east coast, away from the routine and familiarity of their normal workspaces and lifestyles. Emphasis was not on the finished work, but on pushing boundaries, experimentation and looking in new directions. An important concern was addressing the very difficult circumstances in which art is made in developing countries where there is often a lack of working space and materials. There was be a focus also on encouraging the networking and interaction of artists within and beyond the Caribbean art world.

This was a non-commercial and artist-led project. G4+, the Working Group involved in organising the workshop was made up of Annalee Davis, Adele Todd, Richard Bolai, and Sean Leonard as well as Camille King, CCA co-ordinator, who also formed part of the team. Mr. Bolai recently participated in a Triangle workshop in Curaçao as well as Ms. Davis who participated in a Triangle workshop in Jamaica. ‘big River2’ is a part of this growing network of workshops worldwide, all initiated by the Triangle Arts Trust since 1982. After the success of the first ‘big River’ workshop, CCA was asked to initiate and co-ordinate workshops in the Caribbean and Latin American regions with the Triangle Trust. Our joint primary objective is to initiate and facilitate the exchange of ideas and practice between an extensive network of artists around the world.

Towards the end of the intensive two weeks, ‘big River2’ culminated in an Open Day for the public to visit the Mt. Plaisir Estate. This was an excellent opportunity to meet both the local and international artists, and see their work on site. An exhibition of most of the work produced at ‘big River2’ was held at CCA7, a Centre for Contemporary Art, in Port of Spain.

Local sponsors/supporters without whom this important initiative would not have been possible in Trinidad include: The Embassy of the French Republic of Trinidad & Tobago, TSTT, CARIFORUM, Lever Brothers West Indies Ltd., First Citizens Bank, Maraj Gold Ltd., West Indian Tobacco Ltd. and Home Construction Ltd. Scrip-J Printers, BWIA West Indies Airways, Southern Wholesale Stores Ltd., the Angostura Group of Companies, The Trinidad Guardian, John Dickinson & Co. Ltd., the United States Embassy - Public Affairs Section, Century Eslon, Inter-Carib Marketeers Ltd., Micon Marketing Ltd., West Indian Distributors Co. Ltd. (distributors of Benjamin Moore Paints), and Guardian Life of the Caribbean Ltd..

Foreign sponsors of this workshop who have demonstrated their commitment to the development of culture in the Caribbean region are: The Ford Foundation, Prince Claus Fund for Culture and Development, Aeropostal a las de Venezuela, Air India and Golden Artist Colors.

The other sites under current negotiation are Martinique, Argentina, Columbia, and Bolivia. The Martinique workshop is due to take place in May 2002.

big River2 Participating Artists

Artists Statements

FERNANDO ARIAS

I have an interest in the human condition that produces anger and it inspires me. Our intolerance is the starting point for ideas that deal with the capacity we have to ignore situations we do not like. In my work Life comes first. With it comes the anguish and frustration of the human condition. Then, the need to express these feelings through what is called art. The second day at Big River 2 I was presented with one of the most enigmatic of human conditions: Mario had a manic-depressive crisis. The experience was intense and struck me and other people around. Mario left the workshop for a psychiatric hospital and from that moment I had the strange feeling that I was him.

At the time I was working with an idea of finding balance within myself. I stared at the sea for hours. I saw the line of the horizon swinging like a spirit level which never reached total equilibrium. The line was the edge between life and death.

I visited Mario at the hospital and asked for his permission to use his voice I had recorded during his crisis. We sat on a bench and talked very little. He was ever so lucid. We looked at the void. I wanted to go back and swim into the open sea to reach the line. I swam for almost an hour. It was only when I got back to the beach and seeing the preoccupation I had caused my fellows -some thought I had drowned- that I realised the meaning of the action I had just taken: I wanted to live but at the same time die, I was standing on my own line.

With the sea, unwanted energies went and I became myself again. By then, Mario was recovering somewhere far away and it was time for us to evoke him. Eventually Mario's voice and the video of the swinging line became one piece and was presented as a video/sound installation during the open day.

Finally I decided 'Spirit level' should be left alone and I had to think of a new idea which was to become art when installed at CCA. A piece of formica resembling wood found somewhere in the forest of Grand Riviere where I wrote the words 'CONTENTPORARY ACT' did it.

I thank life for letting Mario exist next to me during that time and Natalya for her understanding.

FERNANDO ARIAS

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LAURA ANDERSON BARBATA

“Art has always been employed by the different social classes who hold the balance of power as one instrument of domination – hence, as a political instrument. What is it that we really need? An art extremely pure, precise, profoundly human, and clarified as to its purpose.”

Diego Rivera

GRASS
Community Project

In the project GRASS, I am searching within the structure of active, daily work with the students of the Grande Riviere Anglican School to introduce art and art-making into the existing structure of the school schedule. The people of Grand Riviere are continually expressing themselves in what I consider to be artistic manifestations, yet they are not assumed as such. This sense of immediacy and accessibility in our relationship between making art and daily life is what I am concerned with since it creates the possibility that our reality can translate in a direct level with art. Through the daily papermaking and printmaking workshops I was able to introduce a creative activity that developed into a project that will outlast my residency in Grande Riviere. I approached the young students as though they were teachers themselves, my intention being in teaching them a skill that they can teach others. This system was applied from the beginning and thus quickly became a project that blossomed into one of with infinite expressions and possibilities assumed by the young teachers on a personal level as well as by the group. The results were impressive, revealing refined skills and sensitivity to the characteristics of handmade papermaking and compelling images that were carved into our plates and printed. Mrs. Peters, the Principal of the school, allowed the children’s creativity to flow and encouraged each of the young teachers in their work.

The papermaking project within the school has been named G.R.A.S. The school has now adopted the papermaking project into their school curricula creating the possibility for the children to be involved in art in a way they had not had access to before. G.R.A.S. has developed fully into a solid self-sustaining project with the intention of supplying a continuous production of handmade paper and prints to be sold locally and in Port of Spain. All funds from the sale of these products are applied to fund materials, books and other needs of the school. The active participation of the young teachers of the G.R.A.S. project was vital for presentation in the gallery space of Caribbean Contemporary Arts as well as during the exhibition inauguration at Grande Riviere. The children clearly manifested a sense of ownership over the craft that they were now teaching as well as promoting to the visiting public, who in response felt inspired that this activity could be integrated into their own life in an accessible way.

LAURA ANDERSON BARBATA

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Laura and GRAS student making paper

GRAS students

NICOLE AWAI

On the trail with King Houdini and Choking Charlie:
The New Atlantis rethinking Modernity in plain sight.

King Houdini was brought to Harlem, New York by an American record company to make the first calypso recording in the early 20th century.
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Choking Charlie is the mannequin used to teach the Hiemlich manoeuvre. His mouth is frozen in a perpetual choking motion. When the manoeuvre is executed correctly, a piece of rubber food (that is attached to the mannequin by a length of string) shoots out of Choking Charlie’s mouth.
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The surface is handmade paper that was cast in the sand tracks of a leatherback turtle on the beach at Grande Riviere.

I had great expectations for the ‘big River2’ Workshop. As a Trinidadian artist living and working abroad I deeply desired reconnection with other Trinidadian and regional contemporary artists. I found everything that I had desired and more. The ‘more’ was a feeling of ‘in betweeness’. On consideration of the Antonio Benitez-Rojo essay "The New Atlantis – the ultimate Caribbean archipelago" along with this feeling of ‘in betweeness’, led to further musings on modernity and the internationalism of 20th century West Indian intellectuals and artists.

I have been using images of King Houdini and Choking Charlie metaphorically. King Houdini currently symbolises myself and other West Indies artists and thinkers of the 20th century and Choking Charlie represents Western/European civilisation and art practice.

In my opinion there is an aspect of Modern Art that was about escapism and avoidance by the Western art establishment, a response to the so called 'Third World' moving towards independence and away from colonialism and imperialism. A way to avoid the 'Others' issues and deflect responsibility. Modern Art seemed to only address the formal elements and abstract issues as opposed to Post Modern Art and Multiculturalism later on.

During this period in the 20th century, Caribbean artists like Wilfredo Lam, Leroy Clarke and many others were able to subvert modern art, reshape it and make it carry their voices in an elegant and powerful way. In spirit, as a contemporary Caribbean artist, I am part of this tradition.

NICOLE AWAI

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“On the trail with King Houdini and Choking Charlie: The New Atlantis rethinking Modernity in Plain Sight”

Nicole making the turtle tracks paper mold

MARIO BENJAMIN

I get very bored when I need to dig for the bones of what becomes magic. Most of what strikes me stand strongly without voices to speak them out. I like to invent my own stories. I could be deaf, yet be fulfilled.

MARIO BENJAMIN

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RICHARD BOLAI

The antennae

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EDWARD BOWEN

Very difficult to know what to say, there are so many opinions and feelings as to what art is and isn't, so many new theories of earth shattering relevances, so much to be always up on, the savvy of it all; the flip side is that silent space when and where you are actually working, making a piece and removed from the noises of being, when all that stuff is silenced, and I am unable to describe that space except by the result of having done, or having become submerged in some fascinating process which is more than habitual.

EDWARD BOWEN

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‘Spikes and Spears’

ELSA GABRIELLE CLARKE

The Dynamics of the Hinge, the New Atlantis, 24 artists, 14 days, time, space, materials, ideas . . .

In these pieces I am looking at memory and moments in time and space and how one thing relates to another.

The idea that an experience of a place and time: the light, colour, atmosphere, emotion of a place and time, colours the perception of events to follow and that this in turn can change your recollection of that experience is intriguing.

Perception, past, present and future inexorably linked to the histories of human existence.

ELSA GABRIELLE CLARKE

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"For Remembering; it's only when I left and didn't hear it that I realised I used to hear anything at all."

“Memories and Metaphors”

NATALYA CRITCHLEY

Having read about workshop experiences around the world, I went to Grande Riviere with the clear idea that confronting a group of artists –with diverse practices, focuses and a huge variety of cultural backgrounds could be quite a plateful. I promised myself not to feel obliged to produce, to sit back and let things unwind, get to know people and let ideas happen spontaneously.

However having to deal with an artists nervous breakdown was more of a shakeup than I had expected, and after that the enormous range of reactions it produced, the most worrying of which seemed to me the attempt to shut the issue away in a drawer and turn the key on it.

I found a boatshed at the end of the beach and began to paint - it seemed a place where it wouldn't matter so much getting the floor dirty compared to the hotel terraces- as a way of releasing the pain and sorrow faced with how alone we can be when going through existential crises. It didn't really amount to a big break with what I had been doing beforehand, in fact I felt even worse about my work which I've been wrestling with for quite a while now. I'm not sure where to take it and although I had some fun with an accidental collaboration using motor oil I didn't feel I made any big breakthroughs.

The discussions didn't seem to happen and I had the feeling that the contents of the drawer were rattling away and making everyone uncomfortable. We all seemed to have burrowed into our shells, as if the social or human issues needed to be resolved to be able to get on to other themes.

The otherwise relaxing atmosphere of sun, sea, turtles, wonderful food and time to work was paradisiacal, which may sound contradictory, but the chance to just get on with work was appreciated. However those were the conditions I had created in my life in the interior of Venezuela; what eventually came to light there was the lack of dialogue available in provincial life. The same thing seemed to be happening here again. That was disturbing. I don't mean to defend people who behave outrageously just to get attention, and don't intend to assume a maternal role with another adult. Finally as the artist did not return no-one knows how it could have worked from there on. But I do think that all of us as artists work from a certain nonconformity with given ways of looking at the world. A certain zone of rebelliousness is present in all of us, and for some, having to handle the contradictions of this world can become painfully unmanageable. When the issue was finally faced I mentioned the scab of indifference you have to cultivate to be able to get by in a city like Caracas, to walk on past so many people living on the streets, children begging, people completely lost to this world. What was different about the circumstances of the workshop was the unreal situation of being part of this group for two weeks, so attending to someones crisis for me had to do with this sense of communion. Having said all this I think the working group deserves a round of applause for the effort involved in bringing this off, CCA is a great project that is an incredible cultural asset to Trinidad.

NATALYA CRITCHLEY

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One of the pieces in “Topology”

Natalya and the Boatshed

ANNALEE DAVIS

EVOCATIONS OF HER CARIBBEAN SELF-PORTRAIT

I have traveled many waters in my dugout canoe, from the fresh river water of the Orinoco to the salty blue of the Caribbean Sea. I am a Karib woman and these turtles gave birth to me and to my world. I breathe. I am Tituba, a Yoruba princess. I lived to tell the tale of the middle passage with Erzulie at my pounding heart. My heart beats. My name is Elizabeth. I crossed the Atlantic to see the island that claimed my father‚s heart. I prayed to the Virgin Mary for a safe journey. I live. They call me Usha, Lakshmi is my shining light who guided me from the waters of the Ganga to the seas of the Caribbean. The tassa beats and I feel her rhythm. I go by the name of Gong. The Boddisvhata chants in my mind. I am Creole, the waters of the world run through my veins, the goddess Aida-Wedo manifests herself as rainbow. The arc of her protection warms my soul by the rays of the sun, the energy of her light cycles in my life history.

My umbilicus throbs. Identity is plural and interior space multi-cultural. No boundary to uphold. No great divide to traverse. There is only One. And I am that One. I recognise my Caribbean self. Another flutters in my womb.

ANNALEE DAVIS 2001

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A detail of “Self-portrait:
A Multicultural Caribbean Nomad”

“Self-Portrait: A Mutlicultural Caribbean Nomad”

JACOB FREDERICK

The New Horizon

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"Pouvwe d'Artist"

INTI HERNÁNDEZ

Someone was talking about the relationship between life and art and I asked myself, why is it that we can care so little that the hotel restroom light is not working?

INTI HERNÁNDEZ

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"Acerca de la felicidad: lo primero y lo ultimo es creersela (Concerning happiness: ultimately it is believing in it)

ALICIA HERRERO

I want to create works that show a blank between the action and the analysis. I'm interested in the relation between the daily production mechanisms (everyday tasks, industrial processes) and the analysis of our cultural conventions focussed as industrial construction.

" It's a jungle out there" is a GUIDED TOUR, an intervention into the fabric of the physical and urban geography: THE TOURIST INFORMATION OFFICE, THE FOREST AND THE BAR. This itinerary enunciated as "guided tour", is based in a possible tourist pattern: "information / interaction with the physical / cultural landscape and aerobics walks". By means of the tour this selected places allow to active sense universes in relation with art-nature-culture.

The second location of the tour is THE FOREST, I stand in "its interior the interior equipment, the things of the artist" (as if the artist was living in there...), it operates on the notion of contemporary artists and landscape. It mixed the bed with the stem of the tree, the dishes with the palms, the bottles with the leaves; reproduced an interior with its spatial system of organisation over the pure vegetation of the forest.

"Jungle", as an edge on the notion of nature, I select this word as a social and cultural expression, that wilderness, the raw thing, the uninhabitable place, the non-domesticated thing, that feared thing, "that inhuman thing".

ALICIA HERRERO

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‘It’s a Jungle out there’

JACKIE HINKSON

Three things stand out for me from the Big River experience.

1. It was a learning experience for me to see other artists working in media and methods that I am aware of but with which I have no practical experience.
2. The light of Grande Riviere gave me the opportunity to continue my search for a more expressive light and bolder tonal relationships in my plein-air watercolours.
3. The general social and artistic interaction in such a stunning natural setting was a memorable experience.

JACKIE HINKSON

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Jackie painting

Jackie making books

JALALUDIN KHAN

The artist’s work seeks to analyze the workshop’s applied theme – ‘The Dynamics of the Hinge’. The essence of the work was to investigate the functional and abstract relationship of the role of ‘the hinge’, acting as the central column in the process of change. The site specific works, evolved from engaging this issues and an examination of the workshop process, the use of the indigenous resources found in the space and the redefinition of the artist as element of change and empowerment in the new millennium.

Distressingly, the workshop system of arts administration was cited by observers as lacking safety, sensitivity, respect, and consciousness of actions. The result was suspicion, unhappiness and hurt among stakeholders. But there is need to build on its successes and define the workshop process, as it is an evolving process. There is need for reexamination of the creditability of the program design and to infuse quality into the project management process. The fundamental needed is for greater sensitivity, tolerance an care of the management of group dynamics and programming of arts administration/exhibition planning, which embodies a sense of transparency and maturity for a sincere approach for healthy interpersonal communications and values. Optimistically, the next workshop would be more holistic in planning and a greater philosophical sharing that will generate a sense of greater post workshop sustainability of integrity to respect for the process ideas and value of time.

JALALUDIN KHAN

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"The Bridge"

The work in CCA7

SEAN LEONARD

IN DEFERENCE TO THE MOON

As we acknowledge nature’s rituals set on this edge where land meets sea, we signify this event in time, mark its presence in space and celebrate the constant of that edge which ebbs and rises in deference to the moon; that moon which marks the rituals of our natures.

THE TURTLE TOWER

The turtle towers proposed a way of constructing a discrete human shelter on beaches similar to Grande Riviere, which engage decay and the sacredness of the beach during turtle egg laying seasons.

SEAN LEONARD

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PASCAL MECCARIELLO

Las situaciones intensas que proporcionó el entorno natural de Grande
Riviere y la interacción que se dió entre algunos de los compañeros artistas fueron los componentes fundamentales para un ecuentro con emociones esenciales para la creación, la oportunidad de distanciarse de un ambiente artístico convencional, de la cotidianidad personal y tomar un nuevo espacio propicio para reflexionar en torno a la realidad soñada contra la realidad común y hacer contacto con la poesía perdida a causa de la rutina.

En mi caso particular big River2 ha sido una experiencia vital para el desarrollo de mi trabajo, creo que ha marcado un punto de partida hacia
nuevas exploraciones tanto en el terreno del arte como en el humano, proceso que me sirve para romper moldes a los que yo mismo me he acomodado.

Independendientemente del resultado los procesos son los que dan la mayor cantidad de recursos que fortalecen el trabajo y en este proceso mágico que vivimos creo que todos salimos fortalecidos ,aun aquellos que vulnerados por el mar o las estrellas dejamos ver algun pedazo de nuestro interior. Fué la magia avasallante y la perspectiva que nos imponía el paisaje donde un barco a kilómetros de distancia no era simplemente un artefacto en el horizonte sino una máquina hermosa y surreal, una nube para el recuerdo. Donde un ave en su vuelo era mas que un ave, era las alas y el viento. Donde la trayectoria de un cuerpo humano sobre la arena o mar adentro rompía las reglas del escape convirtiéndose en el símbolo su huella, unica pista para la memoria mientras las olas, todo lo desvanecen.

El fuego, la tierra, el aire, el agua se combinaron en una rara estrategia de seducción, explosión y conjuro. Es lógico que se desaten conflictos que
nos lleven a descubrir nuevos sentimientos, tan fuertes que dificulten el
olvido o impidan la renuncia a la rebeldía del arte y el amor. Quizás fué
trabajo de magos o firmado por ¿angeles?.

PASCAL MECCARIELLO

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Performance ‘La Quema’

“Window onto Paradise”

LESLEY-ANN NOEL

My work during the Big River2 workshop began in a very "orderly" manner with the examination of available raw materials. The first pieces that were designed there, "Driftwood Towers", were very literal and functional.

Gradually through greater experimentation the work moved from the ultra-functional to studies in form and materials, culminating in the Manzanare Basket Case series - a series of semi or non-functional forms, made of local sustainable materials like calabash, cocorite, coconut fibres and mamoo.

This development could not take place without my daily interaction with the residents of Grande Riviere who offered and suggested various new materials to me.

Special thanks to:
Nature, Life, Nestor, Sheera, Patos, Teppy, Orchard, Tony, Earl, Baby and the many other people who observed and contributed to the work in progress.

LESLEY-ANN NOEL

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“Stonewall”

Wearing one of her Manzanare Basket Cases

ROBERT YAO RAMESAR

"Womb of the Unknown Seamstress"

"Womb of the Unknown Seamstress" is a monument to the creative spirit/essence of women, spinning and weaving the web of fate, magic and creation.

The piece consists of a symbol-laden gold pyramid/skirt, crowned by a gold sewing machine. From the sewing machine emerges a single gold thread forming the profile if a woman. A spider's web of fine gold fills in her face.

The pyramid is flat-topped, reminiscent of ancient Mayan and Nubian-styled structures. It also represents the skirt, a woman's garment fashioned by seamstresses, the shroud that covers and contains the womb.

The symbols on the pyramid include Egyptian ankhs and eyes, the Hindu Om, the Carib war club and the Kundalini Serpent that snakes up the pyramid's front face, its form echoed on the back wall.

The Kundalini is the female serpent that lies coiled in the lowest chakra - the pelvis - the realm of the womb.

The back door of the pyramid is mounted on two hinges and opens to admit people into the pyramid/womb. In sunlight the symbols print out sharply on the body of the person inside.

The work was first exhibited on the beach at Grand Riviere, placed over a hole in the sand left by a female leatherback turtle as she layed her eggs.

"B.C. (Before Columbus)" Video-3 minutes.

"B.C. (Before Columbus)" opens with the image of an African man walking the land 1000 years ago "in a place now known as Trinidad".

The theme echoes Ivan Van Sertima's assertion of an African presence in the New World before the coming of the Europeans in "They Came Before Columbus".

There is a voyeuristic feel to the shots of the African man walking. He is being watched by an Amerindian man, who, of course, is already there.

The sound of the sea "breathing" endlessly runs throughout, underscoring the infinite nature of time and tide.

"B.C. (Before Columbus)" features Dave Williams and Jacob Frederick.

ROBERT YAO RAMESAR

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Still from ”B.C. (Before Columbus)“
©Robert Yao Ramesar

”Womb of the Unknown Seamstress“

MYRTHA RICHARDS

"The Big River" Workshop has been a real calling into question. From that moment, everything is to be reconsidered; from our point of view to our posture in the act of working. Another aspect was the tremendous adventure and human experience that makes such a project worthwhile.
What stance is to be taken towards the other, his artistic processes, his differences? That which is federative is to have the opportunity to confront artistic practices of a great variety and to apprehend the idea of time and space in a totally new way. Such an experience generates indisputably a reconsideration of the working-out concept and the construction of an artistic process Henceforth, its in the distances between individuals and their work that can be found new tracks of elaboration.

I believe the repercussions of such a Workshop, rich in unexpected things and discoveries, will be felt in the long term for each of us, with the necessary distance to be able to digest and regurgitate all that has been revealed to us as artists."

MYRTHA RICHARDS

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“La Kaloge de la Resistance”

Detail of “La Kaloge de la Resistance”

REENA SAINI

Beautiful People Of The Rainbow - The Sea Is Salty Everywhere

The large drawing of the uterus/island was rendered using sand (a residue of degraded material, derived from the wearing down of rocks). The act of pouring the sand powder while executing the piece resembled that of making Rangolis (floor patterns usually made out of rice powder and filled with colour, done as a daily ritual in some Indian homes but most commonly seen during festivals).

Like the rangoli, this work will be effaced at the end of the exhibition.

It was made to commemorate the individual‚s wish‚ in an island where one finds a startling mix of ethnic, religious, linguistic and racial identities.

As a process of familiarization I carried a candle to every home I visited and to people I met, who were invited to make inscriptions on them (private
wishes or personal coded messages). that served as tokens of my transient encounters.

Photographs of those who contributed were taken while inscribing on the
candles and mounted on little bamboo boats like flags/sails directing the
course of their journeys.

The boats were located as though moving towards and away from the uterus island.

The candles along with diyas and flowers were arranged on a blue drawing of copulating snakes (the Hindu motif of fertility), that also came to
symbolize the confluence of the two rivers on the bed of sand (as in David
Rudder‚s Calypso The Ganges and The Nile).

Hence, the uterus becomes the site for the cross fertilization of wishes as
the numerous candles melt down and fuse with the island of the beautiful
people.

REENA SAINI

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“Beautiful People of the Rainbow -
The Sea is Salty Everywhere”

Detail of “Beautiful People of the Rainbow -
The Sea is Salty Everywhere”

JASMINE THOMAS-GIRVAN

Jasmine working on another one of the pieces.

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One of the pieces in “Perched between Earth and Sky”

ADELE TODD

“Stones”

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Adele sewing “Primatives”

SANE WADU

It was a pleasure and much honor for being a participant in the ‘big River2’ International Artists’ Workshop as a guest away from the Caribbean.

First and foremost I thank the general populace, the organisers and my fellow artists for all manner of hospitality. I got the feeling of home more like home.

When it comes to the artistic field I am glad to have experienced a whole dimension from a cross section of expressions, and how each interact in their daily lives. I got the experience of the naïve to the serious, the hard and the easy.

Personally, I had the chance to judge and prove true this inspiration and interpretation of my little knowledge about the Caribbean.

All in all, the ‘big River2’ is quite unique compared to other workshops that I have attended. Long life CCA7, long life fellow artists and highlight hopes to better prospects.

SANE WADU

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Sane working

Installation 2