Happy New Year!!! Didn't spend much time in my studio last year, but in December I fell in love with a creative process that is very new to me. So cheers to 2016 and the ceramics journey ahead!!
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| 'Jook Jook Corner' - watercolour and ink on paper ( 2 x 3 ft) |
Bahamian ‘jook jook corners’ are unique side streets that have no doubt evolved through population growth. These streets, often found in residential areas house little sub communities of people whose lives are totally intermingled. Usually most of the homes are wooden or stucco, possessing a quintessential “ole” Bahamian charm. Jook Jook corners seem timeless, almost as if they are stuck in a time warp with very little change in their landscape of people, culture or architecture. One of their most unique qualities is that the street is usually only wide enough to accommodate one vehicle at a time. Two-car passage necessitates one car easing into someone’s yard to allow the other to pass. This simple gesture sits at the core of symbolizing the essence of the ‘jook jook corner’ - unexpected harmony.
'Jook Jook Corner' is a visual narrative of a quaint neighbourhood in Nassau dating back to the early eighties where the residents' lives were totally intermingled, reflecting on a time in Bahamian history when our people truly took pride in the place we called home.
The 2013 Colina Calendar "Celebrating 40 years of Independence and Expression", looks at the unique way we as Bahamians express ourselves. Our colourful vocabulary is replete with words, phrases and proverbs to suit every occasion. In 2013, Colina commemorates the 40th anniversary of the independence of The Bahamas, by celebrating "Bahamianese" as a key aspect of Bahamian culture.
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| 'Jook Jook Corner' featured in May of Colina 2013 Calendar |
The 2013 Colina Calendar "Celebrating 40 years of Independence and Expression", looks at the unique way we as Bahamians express ourselves. Our colourful vocabulary is replete with words, phrases and proverbs to suit every occasion. In 2013, Colina commemorates the 40th anniversary of the independence of The Bahamas, by celebrating "Bahamianese" as a key aspect of Bahamian culture.
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| Colina 2013 Calendar Launch & Silent Auction - December 13th 2012. |
The National Art Gallery of The Bahamas (NAGB) hosted the launch of the calendar," featuring "Jook Jook Corner" and artwork by 12 other Bahamian artists on December 13th 2012. The original pieces were available for purchase via silent auction where 'Jook Jook corner' was sold and now belongs to one of most renowned art collections in The Bahamas, 'The Dawn Davies Collection'.
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| "Biggety" by Heino Schmid - acrylic with dried coconut seed on canvas |
Second to Chantal Bethel's 'Gussie Mae' the contemporary piece by Heino Schmid, 'Biggety' is in fact one of my favourite pieces in the calendar. The term biggety dates back to 1880 and refers to one who is bossy and rudely self-important. The biggety nature of Heino's work comes through the juxtaposition of materials.
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| Keisha Oliver at Colina 2013 Calendar Launch |
I am grateful to Colina and the NAGB for selecting me to be apart of this project and allowing me to visualise and share memories of my childhood that many Bahamian viewers have expressed an appreciation for thus far. This project has allowed me to discover a love for watercolours. In fact, this piece was my first attempt at watercolour painting and I look forward to developing my technique and creating a series of similar paintings.
The National Art Gallery of The Bahamas is thrilled to host the launch of the 2013 Colina Calendar "Celebrating 40 years of Independence and Expression," featuring my recent watercolor "Jook Jook Corner" and artwork by 12 other Bahamian artists. The launch will take place this Thursday, December 13 at 7pm, at the NAGB and will display the original artwork created for the calendar. These original pieces will be available for purchase via silent auction.
The 2013 Colina Calendar celebrates Bahamian culture and expression and as Bahamians we have a unique way of expressing ourselves. Our colourful vocabulary is replete with words, phrases and proverbs to suit every occasion. In 2013, as we commemorate the 40th anniversary of the independence of The Bahamas, Colina Insurance Limited's calendar will celebrate "Bahamianese" as a key aspect of Bahamian culture.
The calendar is a fun look at everyday Bahamian expressions interpreted and illustrated by young artists affiliated with the NAGB. The aim of the calendar is to entertain as well as raise awareness for our unique culture. The calendar takes the viewers on a year-long journey through Bahamian expression and culture.
The show runs from December 13, 2012 through January 12, 2013.
Look forward to seeing you there!
Chief curator at the National Art Gallery of the Bahamas, John Cox,
recently sat down with me to discuss his curatorial strategies behind the newly
realized National Exhibition ‘Kingdom Come’. Cox explores his relationship to
the NAGB and his current engagement with local artists who have been included
in this year’s collection.
Keisha Oliver: In January of this year you took on the position as chief curator with a great deal of optimism. How have you found the past few months in this role?
John Cox: It has been a rewarding experience, with a lot of work involved,
which is a good thing. There definitely is this load that comes with the
position and in some regards I may have underestimated it. I’m very familiar
with the physical handling of the artwork so that aspect hasn’t been
intimidating. The longer I’m in the position the more I begin to understand the
gravity of the responsibility that I have. In a conversation with Heino Schmid,
one of the NE6 artists, we discussed a way to measure how well you’ve done with
a show like NE6 by the increasing numbers of people (particularly artists) who
right you off at the end of it.
John Beadle - Mobile Housing Scheme -Mixed media/Various dimensions 2012. Image courtesy of The National Art Gallery of The Bahamas.
KO: Having worked with
the NAGB previously as a curator and education officer would you say the ethos
of the NAGB and dynamics of your role is much different?
JC: The team and the dynamics of the roles were very different before.
Just under a year ago there was a team that had been put in place by the former
NAGB Director Erica James, but no leaders had been appointed. In returning I
was very careful, as I didn’t want to be the guy that is kind of in charge, but
stepping on toes, disregarding policies that were already put in place. I
wanted to feel it out and gain the respect and trust of my curatorial staff.
This time around has been very different and the evolution of the process has
been slower, but I feel that with this exhibition I needed my team to really
step into gear and I feel they did well because it can be a complicated
process.
During my first role at the NAGB I really didn’t have anything to do from
a curatorial perspective, it was all really educational projects. The roles
weren’t as compartmentalized as they are now, back then you pretty much had to
do everything.
KO: You have expressed that you believed “the new NAGB team could leverage the institution in the future to engage in local, regional and international conversations around contemporary visual practice in ways the country has not yet experienced”. Do you feel Kingdom Come is the beginning of introducing The Bahamas to this new experience?
KO: You have expressed that you believed “the new NAGB team could leverage the institution in the future to engage in local, regional and international conversations around contemporary visual practice in ways the country has not yet experienced”. Do you feel Kingdom Come is the beginning of introducing The Bahamas to this new experience?
JC: Yes I do. I don’t think that Kingdom Come can take the credit solely,
but I think it’s a major part of it. I think a part of how we begin to advance
ourselves is to introduce and re-introduce contemporary practice to our local
community. In putting together Kingdom Come most of the participating artists
have all this experience in working in this language so it’s not like I am
encouraging them to do things that they wouldn’t normally do. I think a show
like Kingdom Come and the NAGB’s past National Exhibitions have pushed the
envelope. That’s what I think this show should be doing, it should be cutting-edge.
I feel it is a relevant show and there is an important role and responsibility where
I have to purpose specific shows with specific agendas. Kingdom Come is about
the future.
Whilst on the NAGB’s Blank Canvas radio show recently I was discussing
with Amanda Coulson the NAGB Director about balancing the various spaces within
the gallery. Kingdom Come is so contemporary in contrast to some of the other
things that people understand. It is about balance, and the thing is there are
more young people in art school getting art related degrees than there were 40
years ago, and the types of practices they are being exposed to and engaging
with are new practices. They are not engaging with egg tempera painting. As
beautiful as it is the reality is that they are not doing it and their language
is moving forward. We need to move with the shift and create opportunities for
people that coincide with this shift, because a lot of this work is pretty
difficult work to sell. Unless you had a really good reason to do this work why
would you do it? My job is to create a reason for artists to be innovative,
creative and individual in their practice.
KO: Do you feel any
previous NAGB National Exhibition has been able to engage regional and
international conversations?
JC: I don’t think so. The reason behind that is we haven’t really
promoted or presented the exhibitions in a way that increases exposure beyond
the Bahamas. That’s why I’m very excited about our connections with
organisations like ARC magazine. Also, the emergence of the facebook culture of
the last 3-5 years has become a pretty central mechanism for a lot of people
and it makes what we do so much more visible and accessible.
One of the disappointments I have with putting together a show like this
is sometimes you get the feeling the artists just don’t really take it
seriously. I think that people in the creative community fail to recognize the
potential scope that opportunities like this have. Like if this show is a
successful show in that it has a strong body of work or an interesting context
there is no reason why curators in the region or other parts of the world
couldn’t review it. That’s my goal. I don’t want to stop working on the opening
and say well I’m just going to sit back and wait for the next opening, but I
think we should be promoting even more while the show is up.
KO: How would you
introduce the concept of the show to someone who isn’t typically concerned with
the arts?
JC: The first thing I wouldn’t do would use the word ‘apocalypse’. The
past few months I’ve learned that that is not a good way to start a
conversation. I would describe it as giving artists an opportunity to respond
to the challenges of change in modern times. I think that everyone can identify
with that if they give it just a little bit of thought. There is this
discomfort we have with so many things going on in our society and I feel this
exhibition is an opportunity for artists to address some of these conditions.
KO: You have referenced
sociologist Carl Jung and mythologist John Campbell during the promotion of
NE6. Are there any contemporary artists or recent exhibitions that you have
drawn inspiration from when planning the show?
JC: There was an essay that was written by contemporary American painter
Julian Schnabel that I came across in Hi-Fructose magazine and I made reference
to in the invitation to the artists. The essay discusses multiple apocalypses
in a person’s life and having to realign one’s life several times based on
significant events that would force them to reevaluate their situation in a
meaningful way. Also, the lectures and presentations by American scholar Joseph
Campbell have been a key reference. For the last 15 years I have been a fan of
Campbell. He often has an interesting perspective on religion and mythology and
the roles we play in society. I feel those kinds of things really drove what I
thought could be the basis of a strong show.
Heino Schmid ‘This is Remembering’ -
Mixed media on wood - 2012. Image courtesy of the National Art Gallery of the
Bahamas.
KO: The choice to change
the direction of the National Exhibition to invitation only invited both
criticism and praise from the local art community. Given the large numbers of
artists living in The Bahamas what criteria helped you fine-tune your selection
to the 48 participating artists.
JC: I think that what makes an artist an artist is beyond talent and
vision, it’s initiative. Which sets of people are actually going to do
something unprompted. So the first thing I thought was usually the National
Exhibitions happen every two years, which naturally started to fit the format
of a biennial like the Whitney Biennial and Venice Biennial. Amanda and I
agreed that those exhibitions are actually invitation only. I thought this
would be a good approach because curating an open call is a little challenging,
its like you are dis-empowered as a curator. You’re in a position where you don’t
know what you will receive because the works may be all over the place and then
you're presented with the job of threading them back together. It is a little
vague in the sense that so many artists work in different ways, with different
measuring sticks in assessing what they do that it makes it difficult to put
all the categories of creativity in one box.
The bigger issue is you’re always having to reject people, those whose
work isn’t selected for the show often creates a fallout that sometimes is irreversible.
For example, you may have artists who would put the NAGB on their black list
for years because they didn’t get into one of the shows and I feel that is
unfortunate. The original jurors who were here for the first five National
Exhibitions really did have a subconscious agenda with what they were looking
for. They mostly wanted to include the strongest collection of new work that
was no more than two years old. We would have really brilliant artists
submitting works, but it was the same brilliance that the artist had discovered
15 years ago.
The new direction of the invite gave us more curatorial control in a way
that we could enter the conversation and with the artist in assisting them with
the development of their concepts, whilst still allowing them complete creative
freedom. This allowed for a better selection process. Using a garden as a
metaphor where we picked the corners of the garden selecting where we wanted
the art to come from so when the work flourished the garden would be full. Opposed
to having pockets of over population and then dried out areas where no
photographers are represented or no ceramicists are represented.
In short, the open call is sometimes like inviting someone to a party and
then saying you can’t come in, whereas I feel it’s better to say we’re having a
party, but we want you to wear a polka dot outfit. This way you’re giving the
artist a choice.
Yutavia George Journey - Mixed Media -
Various dimensions 2012. Image courtesy of John Cox
KO: Who is your
favorite hero of fiction?
JC: Robert Duvall from Apocalypse Now
KO: What is your motto?
JC: Anything with the word ‘epic’.
KO: What is your
greatest fear?
JC: Something happening to my children.
KO: During your
promotion of the NE6 these three questions were put forward to the public. Can
you elaborate on how they relate to Kingdom Come?
JC: I tried to approach the show like a project. Being a practicing
artist I feel that the next best thing from actually having someone else be the
curator and inviting me to the show would be to have some kind of creative
process play a part in the construction of the show. The reason we chose those
questions was because in the beginning the word apocalypse kept coming up and
people didn’t seem to respond too well to it. So we decided that we needed to
lighten it somehow.
I think it is unfair that we always ask artists to write so much because
in an essence that is why they are creating the visual work. They are not
writers, if so they’d just write a novel and wouldn’t have to paint anything.
We decided this was a way to first lighten the theme in a way that it would
have the sensibility that would really give the viewer some insight into the
psyche of the artist. This also provided an easier way for the artist to
respond opposed to presenting a thousand word essay of their work. Initially
there may have been 25 questions for us to choose from. We choose the motto
question because in a way it represents a person’s life philosophy, and
presented a relevant contrast to the question on fear. I feel a individual's motto
is often lined up in a way where it seems it is needed to overcome challenges,
adverse scenarios, and ultimately one's fears. These two questions definitely
balanced each other out.
I found the hero question most interesting because it brings me back to
Joseph Campbell and how he played a central part in the way the show was
constructed where he talks about how wonderful it is that we can make believe.
Like how little girls make believe they are princesses and boys are
superheroes. He expressed that it is so wonderful and playful, but also so
necessary and as you get older that framework of mythology and projected
non-reality becomes your religious situation. He’s a little controversial in
that he doesn’t believe literally that most of the things in religion ever
actually happened, but maintains they are very important. It is like saying to
the little girl you’re not really a princess and realizing what that actually
does to her. For many this realisation may crush one's ability to get outside
of their body.
Kendra Frurop- Duran Duran - Mixed
Media - 6' x 40" each 2011 & l A Constant Interna Smile - Mixed media
/ Various Dimensions 2011. Image courtesy of the National Art Gallery of the
Bahamas.
KO: In lieu of portraits
a series of open palms of the participating artists is used on promotional
material. For some the open palm may be perceived as a welcoming symbol. What
was your purpose for using it and what has been the public’s response thus far?
JC: I thought it would be good to get away from using faces. I feel there
is something a little more honest about your hands. They are usually where the
creative process begins and are very much rooted in the work. I hadn’t even
really thought of it as a welcoming symbol, but it is and there’s something
about the potential unity of hands where they almost seem like a collaborative.
The concept has seemed to have really worked well. Somehow people are really
tied into the conversation surrounding the meaning of the hands, which makes me
feel it was a good decision.
KO: In the NE6 press
release you expressed, “Now is the time for the NAGB to help shift the gallery
into the global spotlight, beginning with what is sure to be a powerful
dialogue.” What sorts of conversations have developed so far leading up to the
opening? What conversations do you hope will follow?
JC: The Minister of Youth, Sports & Culture the Hon. Daniel Johnson
has been involved in this campaign, and he has seemed genuinely engaged showing
a lot of interest in the creative industry in The Bahamas. He was concerned
with learning what the core energy was that caused this work to develop and why
artists would want to be involved even though it wasn’t salable and what kind
of credibility could come along with it.
I feel that those
conversations are coming. A major part of my job is to some degree to pull
together artists that I already feel are talented and to give them an
opportunity to exhibit their creativity, which is relatively easy. I want to
challenge myself now to see how I can get this show to be more visible now that
its up. I would like to use ongoing connections with magazines like ARC and new
relationships with curators like Paco Barragan who I recently met at the Aruba
Linked/Caribbean Linked symposium to help push the dialogue beyond The Bahamas
and establish a dialogue within the region.
Article originally published in ARC Magazine.
Article originally published in ARC Magazine.
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The National Art Gallery of The Bahamas is pleased to announce the opening of its sixth national biennial exhibition, the NE6, entitled "Kingdom Come" on Thursday, November 15th, 2012. The show is held under the patronage of Dr. Daniel Johnson, Minister of Youth, Sports and Culture, who will open it to the general public at 7pm. As the latest installation of the National Exhibition series, this group show features work by myself and 47 other artists living and working in The Bahamas today.
Read more about the exhibition via ARC Magazine:
I hope to see you there!
On April 24th the Public Treasury Art Program (PTAP) announced the names of the Bahamian male artists who have been mentoring high school students over the past few weeks in preparation for its five-month exhibition, Nurturing Brotherhood. The Public Treasury invites the general public to the opening reception on May 18th where each artist will showcase their work alongside their student.
“We are pleased to begin a program that focuses on bridging generational gaps and engenders an appreciation for relationship building, collaboration, and creative independence beyond the traditional artistic culture”, says exhibition coordinator, Keisha Oliver.
This year’s mentors include several visual artists and sculptors, a photographer and a ceramicist; twelve of which are based in Nassau, three in Grand Bahama, one in Abaco, and one in Atlanta, Georgia.
Artist Kishan Munroe feels, “The initiative is a much needed catalyst for the reclamation of the endangered male soul, simultaneously fostering a legacy of artistic excellence, fraternity and creative vision.”
Over the next few weeks leading up to the opening of ‘Nurturing Brotherhood’ PTAP will run a spotlight feature on each artist and their recent work on its blog and social media pages.
Participating Artists include:
Allan Wallace, Andret John, Anthony Morley, Damaso Gray, Desmond Darville, Dion Lewis, Ellery Deveaux, Jace McKinney, Kenon Grant, Kishan Munroe, Lou Lihou, Omar Richardson, Scharad Lightbourne, Sheldon Saint, Shieko Hoyte, and Zyandric Jones
For updates on the exhibition visit PTAP online:
www.facebook.com/ptapnassauwww.twitter.com/ptap_bahamas
www.ptapbahamas.blogspot.com
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| Cover Image by Allan Wallace © 2012 |
Last fall I had the privilege of working with the Public Treasury Department to plan the launch of its new art initiative, the Public Treasury Art Program (PTAP), which transformed the foyers of its building into gallery spaces to showcase original art by both professional and emerging artists.
After our well received five-month inaugural exhibition ‘Bahama Mama’, an amalgamation ofvisual and literary works from twenty-five talented Bahamian female artists and writers, PTAP will be returning this May with an exciting new exhibition, ‘Nurturing Brotherhood’. PTAP aims to build upon its reputation for empowering aspiring artists by allowing art students to take center stage of the creative arts industry.
‘Nurturing Brotherhood’ will not only exhibit work from some of the most talented men in The Bahamas, but also mark the beginning of a promising mentorship program. In an effort to unify the young male Bahamian community through the arts, PTAP has paired both professional artists and designers with high school students to produce a body of work that they will exhibit alongside each other.
PTAP invites the general public to attend the opening of the exhibition on Friday, May 18th 2012 to support these young men and their journey that serves as creative building blocks for the future of our nation’s young men.
For updates on the exhibition and participating artists visit PTAP online: Twitter | Facebook | www.ptapbahamas.blogspot.com
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| Brutha Magazine: Spring 2012 |
I started off 2012 expanding on my editorial portfolio by working with a few newly established Caribbean publications focusing on art, lifestyle, and culture in the region. Last winter I came across Brutha Magazine's website and immediately thought it seemed like an interesting and much needed platform for Caribbean men. When approached by Editor in Chief, Travis M. Sweeting to join his team as Art Director with the primary responsibility of designing its first issue I was thrilled by the opportunity.
Brutha Magazine was launched in March 2012 with its spring issue featuring talented Bahamian recording artist "Sammie Poitier". The magazine is a celebration of fashion, lifestyle and entertainment for men. and exists to embark upon their journey through manhood, harnessing and erecting the very essence of sophistication, class, and style within. Brutha Magazine is missioned to become the voice of Caribbean, providing a go-to guide for living their best lives ever.
Visit Brutha Magazine online:
www.bruthamagazine.com
| John Beadle discusses recent exhibition, 'Nature's Lines' |
On January 26th in a casual meeting at the Central Bank of The Bahamas Art Gallery I had the pleasure of interviewing Bahamian artist John Beadle for my new column, 'Creative Loop' published in Arc Magazine. Unaware of the formalities of such conversations Beadle's easygoing personality married with my genuine enthusiasm to share his work made the conversation go smoothly. We touched on the inspiration behind Nature's Lines, feedback from the opening reception and the experience of exhibiting in Central Bank's gallery space for the first time. But at the heart of the conversation lied his feelings about the work and curiosities on how his audience would interact with it.
The Bahamas has seen many art shows over the years, but rarely comes along an artist brave enough to present a body of work that defies convention. The Central Bank of The Bahamas opened the year with one if its most provocative exhibitions to grace its gallery. Bahamian master artist John Beadle's recent work, ‘Nature's Lines’ draws our attention to the natural beauty of a line we often disregard. In what many deemed a long awaited solo exhibition, the crowds that filled the space proved this to be true. Bahamians from all walks of life joined together on January 19th to be a part of Beadle's monumental moment.
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| Central Bank of The Bahamas Art Gallery (Exhibition Views) |
Although a heavy space, the gallery welcomes you with a certain level of stillness as the collection of lines creep along the walls of its interiors personifying the simplicity of nature. Intrigued by their movement you journey with them as they travel throughout the space guiding you through their palette of earthy hues which mimic red soil, limestone white, and blackened charcoal with hints of cobalt blue. The moment the light hits their surface revealing the unusual textures of their weathered material of jasmine vine, red mangrove root-wood, plywood and cooper casting shadows beneath; you realize that these lines have entered a world of three dimension. Beadle feels the shadows play a crucial part in adding another element to the work. “I think the shadow creates the space, it forces you to see a piece from a distance and even when you come to it, it forces you to recognize there is space between – a separation between the wall and the outer edge.”
Those who follow Beadle's work know him to be an artist who uses unusual and sometimes salvaged materials in innovative ways so for them this exhibition comes as no surprise. In fact, a few may notice it bears a resemblance to some of his earlier work, ‘Fighting Hard, The Six of Us’ where he used short sections of vine material, attached to the surfaces of the assemblage and collage pieces. Beadle refers to the vine used then as "A gesture that emerged from the surface of the work. The aim then was to bring more dimension to the work… allow some aspect of the work to migrate off of the wall and into the viewer’s space."
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I Don't Know about You, 2011 | Too Wicked, 2011 | Found Object #7, 2011 | Locomotion, 2011 (Left to Right)
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The lines in his current work intertwine imbuing fierce, volatile, and arbitrary tones yet as a collection they are not boisterous or overwhelming, but quiet in nature with a gracious zen quality. Inside your space you feel you can touch them and should touch them. You gravitate with a sense of curiosity, but out of respect for art you stand back and resist that impulse. Beadle is interested in how viewers interact with the line. He’s curious to see their first reaction and then their hesitation. "If the first reaction is to touch then there is that level of comfort. So it’s endearing somehow. The air around the solid, the negative space is a mutual space between the object and the viewer ...allowing for a greater experience of the architecture of the object."
Beadle often readdresses elements of his work. He feels it is important to make it relevant to his current creative practice as its about "bringing his history forward to some extent". His present focus is concerned with the simplicity of the line and how space becomes an important role in the interpretation of the work. "This work is an attempt to liberate that gesture from all of the other elements that made those earlier works. My aim was to produce a line that did not work in service of anything other than itself... the line is the object. With this thinking, different kinds of lines became necessary; fine and fast, large and slow. Lines that would in a short travel, twenty four inches or so, go up and down, in toward the mounting surface and back into the gallery’s space. The line had to create its own space and occupy that space." explains Beadle.
For many who visited the exhibition ‘Kind of Blue… Somewhat’ stood out as the focal piece. Perhaps its size or prominence of blue contrast against the bare wall is what drew them in, but for me it was its uncanny resemblance to Grand Bahama, the fifth largest island in The Bahamas. Relating the work with something I was familiar and finding a common factor to how the lines created fascinating shapes became an interesting way of interpreting this work and appreciating its sculptural form.
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| John Beadle with piece 'Kind of...somewhat Blue (Photograph by Kyle Smith) |
"My response to the material is as slight as possible… the aim is to allow the lines, textures, animation of the material and the space around to be the most important aspect of the work. My touch is necessary only to isolate what is already there so as to allow others to focus on that thing(s) that I am focused on. It is all about the line and how it exists as a sculpture. A sculpture that hangs off the wall." Beadle explains.
Nature's Lines lends itself to no conceptual interpretation, in fact it is the most simple work Beadle has produced, but he maintains that "Sometimes the work is not about anything other than the work."
Exhibition Information:
Central Bank of The Bahamas Art Gallery • Frederick Street • Nassau, Bahamas.
January 16. 2012 - February 17. 2012 • Monday - Friday 9:30 a.m - 4:30 p.m
I've had the privilege of knowing Mercy Ogole for almost 15 years. Since our high school days I've watched her blossom and come into her own as a successful fashion designer and entrepreneur. It is a pleasure to share her work and story with you.
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Mercy Ogole - Photography © 2011 Vojteck Chaprek | www.voyteck.co.uk
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Mercy is a 28 year old British fashion designer living in one of the most prominent fashion capitals in the world, cosmopolitan London. She was raised as the second to the last of ten sisters, who she describes as very individual, confident and mostly inspiring women. With their unique mixtures of style and characters she sees herself as an amalgamation of the ‘ten Eagles’ – as she refers to them since her surname translated in English means ‘eagle’. “An accountant, a therapist, a journalist, a beautician to name a few and though we resemble each other we are so different”. On top of it all she attributes a lot of what she does and who she is in Africa and the significance of the Ugandan culture she was raised in. “Africa is gloriously rich in people, nature, colour, art, music, fashion, food, culture, and minerals. I’m so proud to call it my foundation. I have the best mood board to work with”.
You can easily misjudge her though, she certainly appears to belong to a fashion profession but spending time with her you realize that she has much more substance than the frivolity that we often associate with the fashion industry. She is a movie fiend who loves to draw in her spare time whilst currently learning French, she’s considering studying philosophy and dabbles in photography. She continues on what seems like a weird mix of aspirations, hobbies and conquests that many wonder what time she gets to do them all and how wrong she makes you feel for stereotyping.
Mercy has a Bachelor’s degree in Economics, something she is very thankful for since she believes it’s given her a solid foundation to running a successful fashion business. She feels her background in economics gives her a pragmatic perspective that not many creative people are fortunate to have.
Outside of Merci Me she works with young people in her local youth centre where she teaches and helps budding designers develop skills in fashion. ‘I encourage and support young people to start up their own businesses and gain financial independence, I want to give young people the confidence and growth that I got through financial empowerment and independence of using my skills’.
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| Article appears in Stylezine's February 2012 issue 'Happily Ever After' |
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| Article appears in Stylezine's February 2012 issue 'Happily Ever After' |
Fashion Label Merci Me started in Mercy’s bedroom at the tender age of sixteen, where she could be found customizing clothing into something she wanted since she was unwilling to settle for mainstream fashion. She was anything but your average teenager and so was her style. She began to learn and experiment and hasn’t stopped since. Even though very young at the time, as she began to embrace her unique style that soon grew infectious her clothing label was birthed and 11 years later is a fashion and jewelry designer with a classy women’s ready to wear collection.
Mercy draws inspiration from anything…anywhere. It could be from the most surprising and completely unrelated thing to the most common connection. She’s come to realize that fashion is in everything and everything is some kind of fashion. In its entirety, it’s an art by its own right. She fell in love with the idea that you could make something amazing from a piece of cloth. She says “Like origami, where the possibilities are endless….to think that you could transform your own shape and visuals made her fall in love with the idea of becoming a designer. It’s completely empowering and self-assuring to know you have a talent that comes from your mind, heart and hands.”
Mercy likes to think her style is different, classic and an ever evolving one, where originality and exclusivity are her main gearing factors. She hates the idea of a trend or season and embraces unconventional approaches to design. She’s says “I feel in order to make timeless clothing you can’t be influenced by mainstream fashion. So I endeavor to make pieces that demand creative credibility and are just simply beautiful.”
She has an “old soul” when it comes to fashion and prescribes to a time when the idea of style in fashion shows where intimate presentations, everyday was an opportunity to dress up, it was theatrical, it spoke, and it was always beautiful.. That’s what I would like to bring to Merci Me.
Merci occasionally branches out into fine art and other areas of design. In fact, she eventually hopes to design shoes and furniture and anything else she can put her hands to. She says “Creativity can be translated in so many ways; it would be wasteful to confine yourself to one outlet when the possibilities are endless”.
For more information visit her online:
