The World Reimagined Art Residency UK Reflective Journal Phase 2, Hospitafield, Arbroath, Scotland29/6/2022 Hi readers. In my last last post I shared with you the first three weeks experience of The World Reimagined Art Residency in the UK . This post covers the following three weeks and my experience based at Hospitafield in Scotland. About The World Reimagined The World Reimagined is a ground-breaking, vibrant art education project to transform how we understand the Transatlantic Trade in Enslaved Africans and its impact on all of us so that we can make racial justice a reality, together. Supported by Official Presenting Partner SKY, the project will see a trail of large Globe sculptures across seven cities including: Birmingham, Bristol, Leeds, Leicester, Liverpool City Region, London, and Swansea. From 13 August to 31 October 2022, the globes will be displayed across these cities, inspiring and galvanising communities to better understand what it means to be Black and British. Bringing to life the reality and impact of the Transatlantic Trade in Enslaved Africans by remembering the past, whilst still moving forward - celebrating the spirit and culture that has endured so much suffering. With support from The Arts Council England, the Caribbean artist residences have delivered significant, proven community benefit to the host cities. The trails will be the centre of learning, community and heritage programmes that invite everyone to take part: www.theworldreimagined.org/  The second phase of my art residency was based at Hospitafield house, Arbroath, on the North East coast of Scotland. The building is an impressive mansion with distinctive architectural features, towers and gothic decorative details. Sections of the house date from the 13th century abbey with 19th century additions. The property was purchased by the Reverend James Fraser around 1664 and then owned by successive generations of the Fraser family, the final one being the wealthy heiress and widow Elizabeth Fraser. Elizabeth married Scottish artist Patrick Allan, the son of an Arbroath weaving merchant and together they remodelling the house, converting an 18th-century barn into a gallery, and setting up a trust to support young artists. To this day the legacy of supporting artists remains offering residency opportunities which encourage questioning and exploration for future work. Artists stopping in the house have access to the amazing historic rooms, library and collections. Arbroath is a small town with a significant history in the story of human liberty. In 1320 the declaration letter of Arbroath was signed finally granting Scotland independence from English rule after a long war for freedom. On arrival I was welcomed to Arbroath and met by Cicely Farrer the programme and communications manager at Hospitafield. The house is grand and impressive and my bedroom fitted with antique furniture and large windows which looked out onto the walled garden and sea beyond. The four poster bed and background sound of waves brought back nostalgic memories of my Grandmother’s house in Dominica making me feel strangely at home.
 5th April Grounds and Fernery The gardens at Hospitafield have a fascinating history which date back to the 13th century walled garden and monks who built a hospital about a mile away from the abbey. They planted healing herbs and fruit trees. In the late 1800’s a Victorian fernery was designed by Patrick Alan Frazer with a fern collection donated by the Royal Botanic Gardens Edingburgh. The Victorians were very obsessed with ferns with fern designs appearing in garden furniture, home decor and literature. This obsession led to collectors building hothouses and specially designed ferneries to house the exotic displays. Ferns are symbolic in many cultures representing hope, new life, ancestral honouring, unfolding futures. The new Hospitafield logo reminds me of the Ghanain adinkra symbol above ‘AYA’ representing endurance, perseverance, resourcefulness. Although not part of my original design I would like to incorporate ferns into the globe design as a memorial of the special time in Arbroath and also as a reminder of my African roots and the lush Dominica rainforests home to the runaway Maroons. Books found in the library room show line drawings of some of the plants featured in my globe design and highlighting 19th century botanical interests.
, Botanicals, Textiles and decorated surfaces in the house The house and gardens appealed to my botanical interest. Throughout the building there was imagery of flora carved in stone and wood, fine examples of skilled craftsmanship. My favourite was the cracked leather wallcovering and the ceiling in the music room which was entirely covered in delicately hand carved panels of local flora, each carving featuring a different plant.    Rural Surroundings   Gorse Bushes  Thursday 7th April Out and about Arbroath with Artist Jeni Reid Before arriving I had read about the artist Jeni Reid who had previously done a residency at Hospitafield. Jeni resides in the area and agreed to meet up and take me on a tour around Arbroath. Textiles are also Jeni's passion, with ancestral connections to the spinning and weaving history of the area. Her project 'Blueprints for Arbroath' was inspired by the layered history of Osnaburg textiles and the men, women and children of Arbroath who worked in the industry making cloth which went off to West Indian plantations. We had lots to talk about as we share historical and textile interests.  Frederick Douglass delivered one of his anti slavery lectures at the Trades Hall in Arbroath in February 1846.  Textile mill in Arbroath and typical red sandstone walls of buildings in the area Arbroath Abbey Ruin
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Painting Process
Before arrival in the UK sketch ideas were submitted for approval My theme in the seven themes on this Journey of Discovery with the World Reimagined is 'Expanding Soul'. My concept explores our connection to nature and botanical stories of wisdom, trauma, indigenous knowledge, trade and economics all entangled in Transatlantic trade history. I played with highs and lows, light and dark in an emotive and undulating creative journey. The physicality of my own migration story and relationship between Britain and the Caribbean play a part of this exploratory process. The plants I actual grow here in Dominica are featured in the work and used as references for drawings and painting. I wanted viewers to connect to the roots and the plants as entities in themselves from which the commodities are sourced for economic gain, very often at the expense of humanity.
Time was spent in the earlier week sketching, testing ideas, researching and I felt ready to begin painting. It was very important to work systematically also leaving room for artistic alterations along the way. The studio space was an artists dream in terms of space and light but the freezing temperatures at times difficult to contend with making progress and drying slow.
A technique of applying colours in layers was used, incorporating texture by using 3D acrylic medium to build up areas of added interest and threads into entangled root areas of the plants.
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At the end of my three weeks at Hospitafield I was happy with the end result of the globe although ideally I could have done with two extra days to 'sit with' the completed work. It was a great experience at Hospitafield with a balance of hard work as well as time for reflection and enjoying the stunning scenery around.
So far I have shared snippets of my processes and look forward to showing you the end product of the commission once the globes are revealed and the trails start in August.
So far I have shared snippets of my processes and look forward to showing you the end product of the commission once the globes are revealed and the trails start in August.
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Some of you have been eager to hear what I did whilst on art residency in the UK earlier this year. I would like to share with you my creative journey as one of the lucky artists commissioned to paint a globe sculpture as part of the exciting project by The World Reimagined.
About The World Reimagined
The World Reimagined is a ground-breaking, vibrant art education project to transform how we understand the Transatlantic Trade in Enslaved Africans and its impact on all of us so that we can make racial justice a reality, together. Supported by Official Presenting Partner SKY, the project will see a trail of large Globe sculptures across seven cities including: Birmingham, Bristol, Leeds, Leicester, Liverpool City Region, London, and Swansea. From 13 August to 31 October 2022, the globes will be displayed across these cities, inspiring and galvanising communities to better understand what it means to be Black and British. Bringing to life the reality and impact of the Transatlantic Trade in Enslaved Africans by remembering the past, whilst still moving forward - celebrating the spirit and culture that has endured so much suffering. With support from The Arts Council England, the Caribbean artist residences have delivered significant, proven community benefit to the host cities.
The trails will be the centre of learning, community and heritage programmes that invite everyone to take part: www.theworldreimagined.org/
'Home from Home’
As a British born artist who migrated back to the Caribbean island of Dominica four years ago, this was an ideal opportunity to reflect on my return to England as one of the Caribbean artists commissioned by The World Reimagined.
The Six week arts residency was spent between two sites, Wysing Arts Centre in Cambridgeshire, England and Hospitafield Arts Centre in Arbroath, Scotland. This blog post explores the first three weeks at Wysing which was a research and development phase. The following post will cover the second phase in Scotland and painting of my design onto a sculptural globe.
March 10th Journey Over
I am grateful for this amazing opportunity, to explore, create and reconnect to the British landscape, the place of my birth and home for most of my adult life, before relocating to Dominica four years ago,
'Home' is something I reflect as I explore concepts of up rootedness and migration which inform my practice. Reflection on how I connect to both the Dominica and the United Kingdom as ‘Home’ is inevitable with the Caribbean having such an entangled colonial history. Crossing the Atlantic Ocean, masked up, holding my corner on the long plane journey over from Dominica, limited conversation in these ‘Covid times’. How quickly as humans we form habits, segregate, make others feel ‘different’ and alienated. I reflect on the wars taking place, lives uprooted and the resulting trauma. I question, is the global situation today a continuation of the same story of economics, greed and dominance, is it all interconnected ?
14th March 2022 Wysing Arts, Centre
The first three weeks of my residency were spent at Wysing Arts Centre, a beautiful and welcoming arts space set in the Cambridgeshire countryside. A space for artists to reflect, experiment and create. As I ventured outside I was struck by the beauty and freshness of the season of spring. The plants I am so familiar with burst forth from moist soil with healthy new growth; nettles, daisies and brambles. Greeted by a sunny headed dandelion…I smiled, so different to the species I have seen in Dominica with their droopy heads, but family all the same. A thorny bramble caught my arm, pulling me back…reminding me to be careful but confident in my step. I wandered along grassy verges, clambered over wooden stys into fields and bare branched woodland. How great it feels to be free. Through the trees I caught glimpses of an impressive church steeple. I passed a man with dog and we greeted each other briefly, moving on. I recall feeling slightly uncomfortable and glanced back long after…reaffirming my senses as in the distance he stood and stared in my direction. I emerged into the village of Bourne to the welcome sound of children playing in a school yard, past quaint houses with neat gardens and straw thatched roofs which took me back in time.
About The World Reimagined
The World Reimagined is a ground-breaking, vibrant art education project to transform how we understand the Transatlantic Trade in Enslaved Africans and its impact on all of us so that we can make racial justice a reality, together. Supported by Official Presenting Partner SKY, the project will see a trail of large Globe sculptures across seven cities including: Birmingham, Bristol, Leeds, Leicester, Liverpool City Region, London, and Swansea. From 13 August to 31 October 2022, the globes will be displayed across these cities, inspiring and galvanising communities to better understand what it means to be Black and British. Bringing to life the reality and impact of the Transatlantic Trade in Enslaved Africans by remembering the past, whilst still moving forward - celebrating the spirit and culture that has endured so much suffering. With support from The Arts Council England, the Caribbean artist residences have delivered significant, proven community benefit to the host cities.
The trails will be the centre of learning, community and heritage programmes that invite everyone to take part: www.theworldreimagined.org/
'Home from Home’
As a British born artist who migrated back to the Caribbean island of Dominica four years ago, this was an ideal opportunity to reflect on my return to England as one of the Caribbean artists commissioned by The World Reimagined.
The Six week arts residency was spent between two sites, Wysing Arts Centre in Cambridgeshire, England and Hospitafield Arts Centre in Arbroath, Scotland. This blog post explores the first three weeks at Wysing which was a research and development phase. The following post will cover the second phase in Scotland and painting of my design onto a sculptural globe.
March 10th Journey Over
I am grateful for this amazing opportunity, to explore, create and reconnect to the British landscape, the place of my birth and home for most of my adult life, before relocating to Dominica four years ago,
'Home' is something I reflect as I explore concepts of up rootedness and migration which inform my practice. Reflection on how I connect to both the Dominica and the United Kingdom as ‘Home’ is inevitable with the Caribbean having such an entangled colonial history. Crossing the Atlantic Ocean, masked up, holding my corner on the long plane journey over from Dominica, limited conversation in these ‘Covid times’. How quickly as humans we form habits, segregate, make others feel ‘different’ and alienated. I reflect on the wars taking place, lives uprooted and the resulting trauma. I question, is the global situation today a continuation of the same story of economics, greed and dominance, is it all interconnected ?
14th March 2022 Wysing Arts, Centre
The first three weeks of my residency were spent at Wysing Arts Centre, a beautiful and welcoming arts space set in the Cambridgeshire countryside. A space for artists to reflect, experiment and create. As I ventured outside I was struck by the beauty and freshness of the season of spring. The plants I am so familiar with burst forth from moist soil with healthy new growth; nettles, daisies and brambles. Greeted by a sunny headed dandelion…I smiled, so different to the species I have seen in Dominica with their droopy heads, but family all the same. A thorny bramble caught my arm, pulling me back…reminding me to be careful but confident in my step. I wandered along grassy verges, clambered over wooden stys into fields and bare branched woodland. How great it feels to be free. Through the trees I caught glimpses of an impressive church steeple. I passed a man with dog and we greeted each other briefly, moving on. I recall feeling slightly uncomfortable and glanced back long after…reaffirming my senses as in the distance he stood and stared in my direction. I emerged into the village of Bourne to the welcome sound of children playing in a school yard, past quaint houses with neat gardens and straw thatched roofs which took me back in time.
Watercolour sketch using pigment extracted from fresh nettle leaves on site
15th March
On opening the door to a cold, grey and wet day, I promptly closed it back. I have become disconnected to the cold British weather and felt the need to now mentally prepare for outside. I took advantage of the grim weather for indoor explorations of the Wysing site, where I enjoyed the gallery space and ‘A Tender Ascent’, an immersive audio – visual installation. This show brought together choreography, sound and sculpture, a culmination of experimental collaboration between choreographer Maeva Berthelot and musician, vocalist and DJ Coby Sey, with sculptures by Andre Bavard. The surround sound and boom boxes in the seats worked well with the imagery taking the body through a powerful and very emotive trip. Time was spent also looking through the portfolios of artists who hold studio spaces here and had interesting conversation and sharing with staff and artists as they came and went. There is a community spirit here and great to know there are spaces like this where artists feel at home.
For me it is important to touch base with feelings after a long journey and explorations of ’cultural duality’. What does it mean to be ‘at home’ in two contrasting geographical and cultural locations where weather, landscape and culture all contrast? This opportunity is a luxury as an artist and I value lone time and opportunities to connect with other creative minds.
On opening the door to a cold, grey and wet day, I promptly closed it back. I have become disconnected to the cold British weather and felt the need to now mentally prepare for outside. I took advantage of the grim weather for indoor explorations of the Wysing site, where I enjoyed the gallery space and ‘A Tender Ascent’, an immersive audio – visual installation. This show brought together choreography, sound and sculpture, a culmination of experimental collaboration between choreographer Maeva Berthelot and musician, vocalist and DJ Coby Sey, with sculptures by Andre Bavard. The surround sound and boom boxes in the seats worked well with the imagery taking the body through a powerful and very emotive trip. Time was spent also looking through the portfolios of artists who hold studio spaces here and had interesting conversation and sharing with staff and artists as they came and went. There is a community spirit here and great to know there are spaces like this where artists feel at home.
For me it is important to touch base with feelings after a long journey and explorations of ’cultural duality’. What does it mean to be ‘at home’ in two contrasting geographical and cultural locations where weather, landscape and culture all contrast? This opportunity is a luxury as an artist and I value lone time and opportunities to connect with other creative minds.
Mapping SpaceI occupied a very comfortable live/work unit at Wysing which looked out onto open fields at the front. This was home for the three week research phase of my residency. Circles were mapped out on the wall and floor to visualize the size of the sculptural globe to be painted. Each circle being 1.4 m in diameter with key words placed on the edges and within. These circles became entities in themselves, spaces of grounding and reflection which I circumnavigated and spaces where I returned to find myself. By physically placing myself within the circle on the floor, walking the circumference, dancing, sitting in the centre or placing of object and sketches within it, each object for that moment became the point of focus. Strangely this ‘circle of centering’ became an integral part of my daily process at Wysing before painting and even during the painting process. I pondered on the reflexivity and investigative nature of my practice and the questioning of the things I am passionate about; home, family, plants, landscape, history, textiles and entanglement. According to Mersch (2017) Re–search is a question that questions its own quest, so I feel confident in my search, for whatever I am searching for and go where the threads lead me. Reflection on circles Circles in many cultures represent life cycles and continuity. My ultimate task when I move on to the second half of my residency at Hospitafield in Scotland will be to paint the exterior surface area of the globe, a surface which will be publicly seen. The two circular spaces here at Wysing represent the inner core of the globe, the unseen workings and I guess in a sense, the soul of the globe, the soul which may or may never get seen by the viewing public. The artists’ questionings, pain, doubts, joys, triumphs, moments of revelation. The inner thought processes which go into creating. What manifests from the inside outwards is essentially 'the expanding soul'. |   |
16th March Creative threads
With the sun out in all its glory and warm enough for breakfast outside. A couple meetings scheduled and time spent picking threads to prepare for experimental textured printing. Why my obsession to pull threads, weaving stories, to make sense of history? It is this exploratory and reflexive time which artist need and crave, time to germinate ideas and have revelations. The sunlight on the woven fabric casts such amazing shadows feeding ideas for installation work and sculpture.
As each thread is pulled the structure of the fabric alters, weakening the stability. Each thread is a single entangled reflection or thought with a life of its very own. Each thread can be unravelled even further into strands, then fibres and dust like particles.
A walk up to the Wysing artist studio spaces, I met two artists who were very welcoming and happy to share their work in progress. We had a useful exchange about natural dyes and a book ‘making Ink’ was recommended. It always fascinates me listening artists talk about their journeys and what is important to them. Very often as artists we work in isolation, not always getting opportunities to fully share what we ‘actually do’ and that creativity to us is a fundamental human need, a sentiment not always understood. Feeling connected and valued as part of a community is also a basic need.
Research and visits
18th March Cambridge botanical gardens
Online research highlighted the glasshouse as a good place to visit as it included a mix of tropical economic as well as ornamental plants I am interested in sketching botanical specimens such as Hevea brasiliensis (rubber), Swietenia sp (mahogany), Cabomba (kapok), vanilla, coffee, sugar cane, rice and cotton. On my visit I identify many ornamental plants which grow in Dominica and find some new and unusual one which could inspire design ideas. One of the glasshouses is closed for repair after the storms a few weeks ago, and I identified cocoa and kapok plants but did not see many of the economic plants which I was hoping to draw. A very productive and enjoyable day out.
A walk up to the Wysing artist studio spaces, I met two artists who were very welcoming and happy to share their work in progress. We had a useful exchange about natural dyes and a book ‘making Ink’ was recommended. It always fascinates me listening artists talk about their journeys and what is important to them. Very often as artists we work in isolation, not always getting opportunities to fully share what we ‘actually do’ and that creativity to us is a fundamental human need, a sentiment not always understood. Feeling connected and valued as part of a community is also a basic need.
Research and visits
18th March Cambridge botanical gardens
Online research highlighted the glasshouse as a good place to visit as it included a mix of tropical economic as well as ornamental plants I am interested in sketching botanical specimens such as Hevea brasiliensis (rubber), Swietenia sp (mahogany), Cabomba (kapok), vanilla, coffee, sugar cane, rice and cotton. On my visit I identify many ornamental plants which grow in Dominica and find some new and unusual one which could inspire design ideas. One of the glasshouses is closed for repair after the storms a few weeks ago, and I identified cocoa and kapok plants but did not see many of the economic plants which I was hoping to draw. A very productive and enjoyable day out.
Connecting to Tropical plants in the hot house section at Cambridge Botanical Gardens |  |
Fitzwilliam Museum, Cambridge, Thursday 24th March
Quest for ‘Golden Pineapples’
Wherever I travel a particular plant speaks to me in relation to my time spent in that place. My research in Cambridge for symbolism and plants with economic and colonial connections highlighted the pineapple (Ananas comosus) as such a plant. Appearing on each research visit. Pineapple were an important medicine and food for indiginous people int the Americas also used as a welcome symbol and considered ‘King of fruits’. The first botanical image to appear in Britain was said to have been in 1629. Pineapples in the 18th century became symbolic of colonialism, high status, wealth, often grown in hothouses and specially designed pineries across Great Britain at huge expense. This fruit became a fashionable icon appearing in 18th and 19th century architecture, tableware and art as seen in my visit to Fitzwilliam museum in Cambridge.
Quest for ‘Golden Pineapples’
Wherever I travel a particular plant speaks to me in relation to my time spent in that place. My research in Cambridge for symbolism and plants with economic and colonial connections highlighted the pineapple (Ananas comosus) as such a plant. Appearing on each research visit. Pineapple were an important medicine and food for indiginous people int the Americas also used as a welcome symbol and considered ‘King of fruits’. The first botanical image to appear in Britain was said to have been in 1629. Pineapples in the 18th century became symbolic of colonialism, high status, wealth, often grown in hothouses and specially designed pineries across Great Britain at huge expense. This fruit became a fashionable icon appearing in 18th and 19th century architecture, tableware and art as seen in my visit to Fitzwilliam museum in Cambridge.
Pineapple inspired architectural details and Staffordshire pottery coffee jug at Fitzwilliam Museum, Cambridge.
Wimpole Hall and Walled Gardens Monday 28th March
Researching the history of the area I came across the name Wimpole Hall. This stately home aroused my curiousity as it was included in The National Trust interim report of properties with Colonial and Slavery connections. In the photo it appears ominous yet impressive in its grandeur. Gardens designed by Capability Brown and Repton, pineries and vineries, glasshouses stirred my botanical interest. The building has a long history, changing hands from chancellors to writers. The National Trust has revealed the historical truths of such places with Transatlantic Trade and slavery connections. This has met with much opposition, in some cases with threats of funding withdrawals for those who speak of such HIStories.
It saddens me to think that in the year 2022 there is still so much resistance to exploring historical 'truth' and alternative stories of trade and Empire. Everywhere we look in architecture, food, art, colonial history is entangled in the very structural fabric of the heritage landscape both in Britain and in the Caribbean. The British have been very fastidious at keeping archives and documenting Empire with much information preserved in black, white and shades of grey for those interested in more balanced accounts of global history to view.
It is time to remove the bandages which hide the wounds and impact on the psyche and wellbeing of every single one of us, in one way or another. To acknowledge the emotions which keep us stuck, the trauma, the guilt, the shame, the blame. Give the wounds air and light to breathe, for the hole is where the healing lies.
My interests were drawn to Philip Yorke 1st Earle of Hardwicke (1690 – 1764) who together with Charles Talbot issued the 1729 ‘Yorke – Talbot’ opinion which stated that runaway enslaved Africans coming to Britain were not free and could be legally returned to the plantations in the West Indies. There are accounts of pineapples being grown at Wimpole. Gardener James Dall recorded a patent in 1830 for pine pits which were very efficient for growing pineapples without fire or heat, but using a system of leaf mounds 5 -6 feet high in front, 7 to 8ft high in the back and 5ft thick. These proved very efficient as he practiced this method for four growing 500-600 plants. 250 fruit were said to be cut annually as recorded in the The Repertory of patent inventions and other discoveries and inventions (1830). The cost of one pineapple plant in that period was phenomenal. In Dominica part of my practice is documenting growth. I have tried to grow pineapples and even in a tropical climate after three years I am only just seeing the baby fruit of my labours.
Researching the history of the area I came across the name Wimpole Hall. This stately home aroused my curiousity as it was included in The National Trust interim report of properties with Colonial and Slavery connections. In the photo it appears ominous yet impressive in its grandeur. Gardens designed by Capability Brown and Repton, pineries and vineries, glasshouses stirred my botanical interest. The building has a long history, changing hands from chancellors to writers. The National Trust has revealed the historical truths of such places with Transatlantic Trade and slavery connections. This has met with much opposition, in some cases with threats of funding withdrawals for those who speak of such HIStories.
It saddens me to think that in the year 2022 there is still so much resistance to exploring historical 'truth' and alternative stories of trade and Empire. Everywhere we look in architecture, food, art, colonial history is entangled in the very structural fabric of the heritage landscape both in Britain and in the Caribbean. The British have been very fastidious at keeping archives and documenting Empire with much information preserved in black, white and shades of grey for those interested in more balanced accounts of global history to view.
It is time to remove the bandages which hide the wounds and impact on the psyche and wellbeing of every single one of us, in one way or another. To acknowledge the emotions which keep us stuck, the trauma, the guilt, the shame, the blame. Give the wounds air and light to breathe, for the hole is where the healing lies.
My interests were drawn to Philip Yorke 1st Earle of Hardwicke (1690 – 1764) who together with Charles Talbot issued the 1729 ‘Yorke – Talbot’ opinion which stated that runaway enslaved Africans coming to Britain were not free and could be legally returned to the plantations in the West Indies. There are accounts of pineapples being grown at Wimpole. Gardener James Dall recorded a patent in 1830 for pine pits which were very efficient for growing pineapples without fire or heat, but using a system of leaf mounds 5 -6 feet high in front, 7 to 8ft high in the back and 5ft thick. These proved very efficient as he practiced this method for four growing 500-600 plants. 250 fruit were said to be cut annually as recorded in the The Repertory of patent inventions and other discoveries and inventions (1830). The cost of one pineapple plant in that period was phenomenal. In Dominica part of my practice is documenting growth. I have tried to grow pineapples and even in a tropical climate after three years I am only just seeing the baby fruit of my labours.
A visit to Wimploe Hall with the director at Wysing was very worthwhile. After walking round the ground floor interior of the house, we enjoyed the walled garden with many varieties of apple and cherry trees. Speaking to the National Trust Gardeners on site we were escorted into a greenhouse where we were shown baby Castor plants, another historic economic plant which grow profusely in Dominica. Castor (Ricinus communis) plants are known for producing the deadly poison ricin. In Dominica the plant has been used for centuries by Africans and indigenous populations to make Castor oil as part of local ‘bush medicine’, to treat skin conditions and as a hair tonic. We were also shown a modern brick built pit which was recently used for experimental pineapple growing. This however proved too costly and time consuming. The large and beautiful glasshouse which was once part of the right wing of the building was long demolished and there is no evidence of the original pineapple pits or pineapple growing on the site today.
Tate Gallery Exhibitions Thursday 31st March
Life Between Islands – Tate Britain
I was very fortunate to visit the 'Life between Islands' exhibition with Hannah from Wysing. This exhibition at the Tate Britain featured work of Caribbean British artists from 1950’s to the present. The exhibition derives its title from the late cultural theorist Stuart Hall’s memoires ‘Familiar Stranger: A life between Islands (2017). Hall inspires my thinking about duality, identity and belonging. He believes “We are always in a process of cultural formation. Culture is not a matter of ontology of being, but of becoming.”
The exhibition was an emotional trip being able to personally identify with the historical transitions and struggles as a British citizen with parents of the so called ‘Windrush generation’. I smile as I think of my Mum’s reaction to this as she often stresses that she did not come to Britain on the ‘Empire Windrush’.
My migration journey is important to my quest. I was born in Britain, went back to Dominica as a toddler, spent my informative childhood years in Dominica before moving back to Britain as a teenager in the 70’s. I have lived here most of my adult life before relocating three years ago to live in Dominica once again. Even there I have a British stamp on my head as the accent, and certain mannerisms are ingrained. I am rooted in both places with a broken African ancestral root, very difficult to trace but which I feel strongly in my drum beat spirit.
Donald Locke’s captivating and powerful installation pieced together from material fragments fused with Colonial imagery speaks of that spirit and left me emotionally moved as I worked my way through the carnival revellers, each one unique and frozen in time. I felt slightly disturbed as I witnessed a nearby father nearby say to a toddler “Do you think this person is happy or sad”...pointing to the image of a white man’s head being carried along in a box by the procession. Carnival for me is such an important time of reverence, remembrance and celebration of emancipation. As both a carnival goer and costume maker I am caught up in ingenuity and magic of this piece.
The exhibition is well curated and as we move through room by room certain pieces resonate deeply. ‘Paradise Omeros’ by Isaac Julien 1962, a humorous yet sad three screen projection fusing traditional West Indian scenes of the 70’s with a young Caribbean British boys’ uncomfortable and questioning alienation from ‘his’ culture. Very emotive and powerful. Alberta Whittle’s mesmerizing and haunting, Scottish ballads play as she moves against a backdrop of waves and mountains in a Scottish landscape. My next stop was up North to Arbroath, Scotland for the second half of this residency.
Images below feature works by 3 contemporary artists exploring culture and identity: : Donald Locke, Alberta Whittle and Lubaina Himid
Tate Gallery Exhibitions Thursday 31st March
Life Between Islands – Tate Britain
I was very fortunate to visit the 'Life between Islands' exhibition with Hannah from Wysing. This exhibition at the Tate Britain featured work of Caribbean British artists from 1950’s to the present. The exhibition derives its title from the late cultural theorist Stuart Hall’s memoires ‘Familiar Stranger: A life between Islands (2017). Hall inspires my thinking about duality, identity and belonging. He believes “We are always in a process of cultural formation. Culture is not a matter of ontology of being, but of becoming.”
The exhibition was an emotional trip being able to personally identify with the historical transitions and struggles as a British citizen with parents of the so called ‘Windrush generation’. I smile as I think of my Mum’s reaction to this as she often stresses that she did not come to Britain on the ‘Empire Windrush’.
My migration journey is important to my quest. I was born in Britain, went back to Dominica as a toddler, spent my informative childhood years in Dominica before moving back to Britain as a teenager in the 70’s. I have lived here most of my adult life before relocating three years ago to live in Dominica once again. Even there I have a British stamp on my head as the accent, and certain mannerisms are ingrained. I am rooted in both places with a broken African ancestral root, very difficult to trace but which I feel strongly in my drum beat spirit.
Donald Locke’s captivating and powerful installation pieced together from material fragments fused with Colonial imagery speaks of that spirit and left me emotionally moved as I worked my way through the carnival revellers, each one unique and frozen in time. I felt slightly disturbed as I witnessed a nearby father nearby say to a toddler “Do you think this person is happy or sad”...pointing to the image of a white man’s head being carried along in a box by the procession. Carnival for me is such an important time of reverence, remembrance and celebration of emancipation. As both a carnival goer and costume maker I am caught up in ingenuity and magic of this piece.
The exhibition is well curated and as we move through room by room certain pieces resonate deeply. ‘Paradise Omeros’ by Isaac Julien 1962, a humorous yet sad three screen projection fusing traditional West Indian scenes of the 70’s with a young Caribbean British boys’ uncomfortable and questioning alienation from ‘his’ culture. Very emotive and powerful. Alberta Whittle’s mesmerizing and haunting, Scottish ballads play as she moves against a backdrop of waves and mountains in a Scottish landscape. My next stop was up North to Arbroath, Scotland for the second half of this residency.
Images below feature works by 3 contemporary artists exploring culture and identity: : Donald Locke, Alberta Whittle and Lubaina Himid
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At times I felt like a tropical hunter. My prize appeared once again as I viewed Lubaina Himid's exhibition at The Tate Modern. The pineapple jelly mould stood out among the ceramic objects interspersed with miniature trees in her piece titled ‘What are monuments for’.
Conclusion
I have thoroughly enjoyed being at Wysing arts centre. The team went out of their way to make my stay comfortable and engaging. The organisation has a strong ethos of sharing and caring, not only for each other but for the environment. It has been a very special experience connecting with amazing staff and artists. I value the sharing of technical expertise, conversation as well as exploring common personal, cultural and migratory experiences and building relationships with other artists on site. The balance of solo time and stimulating engagement has been invaluable. Spending time alone has highlighted my need for solo time and the importance of creating this space for creation an revival in a busy everyday life. I will take this experience forward with me to the strengthening of my practice. A big Thank you to all.
Look out for the next Blog Post. I will share my Scotland experience at Hospitafield,
At times I felt like a tropical hunter. My prize appeared once again as I viewed Lubaina Himid's exhibition at The Tate Modern. The pineapple jelly mould stood out among the ceramic objects interspersed with miniature trees in her piece titled ‘What are monuments for’.
Conclusion
I have thoroughly enjoyed being at Wysing arts centre. The team went out of their way to make my stay comfortable and engaging. The organisation has a strong ethos of sharing and caring, not only for each other but for the environment. It has been a very special experience connecting with amazing staff and artists. I value the sharing of technical expertise, conversation as well as exploring common personal, cultural and migratory experiences and building relationships with other artists on site. The balance of solo time and stimulating engagement has been invaluable. Spending time alone has highlighted my need for solo time and the importance of creating this space for creation an revival in a busy everyday life. I will take this experience forward with me to the strengthening of my practice. A big Thank you to all.
Look out for the next Blog Post. I will share my Scotland experience at Hospitafield,
Mango: Mangifera indica
This post is dedicated to one of my favorite fruit, mangoes. The mango tree is topical at the moment, not only because mango season is just coming to an end here but also because recently there was much publicity in Dominica about a 150 year old mango tree which was cut down in Roseau on the site of the historic Jean Rhys house. I was present when the last chainsaw cut ripped through the thick trunk and the tree came crashing to the ground. As the deep roots were wrenched out of the earth, the streets of Roseau shook. I stood watching this process and shed a silent tear for the loss of age old roots. What’s in a tree?...some would say. I stayed to watch it carved up into little pieces and some beautiful slabs, no doubt to be sold off to furniture makers. I even rescued a wedge as a memento, maybe one day it will be transformed into a piece of artwork.
The mango is seen as a symbol of good luck, prosperity, eroticism, fertility and knowledge in some cultures. In some parts of India mango leaves are strung up over the front doors of homes. The tree itself is considered a connection to “love,” known as the “king” of all fruits and written about in many poems and literature.
This fleshy fruit, eaten ripe or used green for pickles, salads and chutneys is said to be one of the most widely cultivated fruits of the tropical world with over 500 varieties. Rich in antioxidants, the mango is known for its amazing nutritional value and health benefits.This juicy ripe fruit is a rich source of Vitamins A, B, B6, C, D and essential minerals such as copper, potassium and magnesium. It has antiviral, anti parasitic and antiseptic properties. The stem, bark, leaves, roots and fruit can be used for different purposes. The skin of the fruit is firm and leathery ranging in colour from green, deep yellow, yellowish-red to apricot with a crimson blush on one cheek. Inside is a hairy central seed covered with a juicy aromatic pulp. The texture and amount of hair varies depending on the variety.
Mango is a tree of the cashew family found in tropical and sub tropical Asia, Africa, Americas and West Indies. Trees have a deep tap root and flowers grow in white clusters, growing into fruit which hang in bunches. Leaves are a purplish colour when young and dark green, shiny and elongated when mature. This fruit grows in abundance and of real economic importance in the local economy of some Caribbean villages. In Dominica I have been amazed to see as many as five mango varieties grafted onto one single tree, each section bearing a different variety.
How did mangoes get to the Caribbean?
Mangoes are not native to the Caribbean. They have become so much a part of our culture it is easy to assume they have always been here. There are records of trees being planted in Barbados in 1742. British plantation owner Joseph Senhouse in his journal dated 1772 relating to his estate in Castle Bruce, Dominica mentions mangoes as one of the fruits he saw on the island on his visit. Fossil evidence traces the mango tree back to India and Bangladesh over 25 million years ago. They are believed to have been introduced to China and Malaysia around 4th century B.C. and then to East Africa by Persians and to West Africa and Brazil by the Portuguese, who then introduced them to the West Indies.
The mango is seen as a symbol of good luck, prosperity, eroticism, fertility and knowledge in some cultures. In some parts of India mango leaves are strung up over the front doors of homes. The tree itself is considered a connection to “love,” known as the “king” of all fruits and written about in many poems and literature.
This fleshy fruit, eaten ripe or used green for pickles, salads and chutneys is said to be one of the most widely cultivated fruits of the tropical world with over 500 varieties. Rich in antioxidants, the mango is known for its amazing nutritional value and health benefits.This juicy ripe fruit is a rich source of Vitamins A, B, B6, C, D and essential minerals such as copper, potassium and magnesium. It has antiviral, anti parasitic and antiseptic properties. The stem, bark, leaves, roots and fruit can be used for different purposes. The skin of the fruit is firm and leathery ranging in colour from green, deep yellow, yellowish-red to apricot with a crimson blush on one cheek. Inside is a hairy central seed covered with a juicy aromatic pulp. The texture and amount of hair varies depending on the variety.
Mango is a tree of the cashew family found in tropical and sub tropical Asia, Africa, Americas and West Indies. Trees have a deep tap root and flowers grow in white clusters, growing into fruit which hang in bunches. Leaves are a purplish colour when young and dark green, shiny and elongated when mature. This fruit grows in abundance and of real economic importance in the local economy of some Caribbean villages. In Dominica I have been amazed to see as many as five mango varieties grafted onto one single tree, each section bearing a different variety.
How did mangoes get to the Caribbean?
Mangoes are not native to the Caribbean. They have become so much a part of our culture it is easy to assume they have always been here. There are records of trees being planted in Barbados in 1742. British plantation owner Joseph Senhouse in his journal dated 1772 relating to his estate in Castle Bruce, Dominica mentions mangoes as one of the fruits he saw on the island on his visit. Fossil evidence traces the mango tree back to India and Bangladesh over 25 million years ago. They are believed to have been introduced to China and Malaysia around 4th century B.C. and then to East Africa by Persians and to West Africa and Brazil by the Portuguese, who then introduced them to the West Indies.
o season our grafted mango tree (known by some as Julie mango) has gifted in abundance, allowing us to share with many family and friends for almost two months. It is so good to be able to share produce. In Dominica sharing what the land provides is very much part of Island Culture. These mangoes are sweat, firm and milky in texture, perfect for cutting into cubes for a fresh fruit salad. In order to avoid the fruit being contaminated by the fruit fly, I have been vigilant in picking up any fallen fruit to avoid rot under the tree. Mango picking is a game of patience often in competetion with birds who now exactly when the fruit are ripening. Watching patiently as bunches of fruit grow to maturity until ready to be plucked, leaving some for the birds of course.
It has been a mission this year to re live childhood memories and taste as many mango varieties as possible. Growing up on the island we had the whole of St. Aroment as our playground before the houses were built. There were mango tree of all kinds, along with guavas, limes and the occasional mangosteen tree. Each mango had a different aroma, texture and flavour. These are just a few varieties common to Dominica. Grafted mango or mango Julie, mango licka, mango belly full, mango barbe, mango long, mango woz, mango cherie, mango Bitter skin ……..
How many mangoes can you name?
I am saddened to see how much fruit goes to waste on this island these days. Mango trees laden with fruit which fall and are left to rot. Have our taste and ways of living changed so much that we prefer to fill shopping baskets with boxed juices full of sugar, artificial flavours and preservatives? It always makes me smile when I see someone sit by the roadside and bite into a fresh fruit.
I was so grateful this year to be given some mango barbe. My favorite. A long thin mango and a rare treat. The smell evoked memories of a wild and free childhood growing up in the St. Aroment area of Dominica before it became a residential area it is today. To re-live the experience through the unique aroma, peel back the skin and bite into the flesh and pull up the juice with my teeth along its long hairy fibers. There is a ritualistic order of mango eating......relaxed, in peace and alone. Picking fibers stuck between the teeth afterwards is part of that ritual. To truly enjoy a good mango I believe is one of the simple pleasures of life. As a child, I remember after pealing the fruit, I would then rub the fleshy part all over my face, letting it dry like a face mask before washing it off. I would suck the last drop of juice from fibrous seed, wash the seed carefully, style the hair. This was a common childhood past time in the 70's and dolls heads would be made, decorated with madras head dress, neck wear and used to decorate the tops of pencils. Here in Dominica we do not utilize mangos to their full potential when they are in season and in surplus. They have many uses in other countries especially in Eastern medicine.
This season I have been creatively experimenting and researching ways of preserving and using mangoes. I made: Mango chutney, mango jam, mango cheesecake, mango upside down cake, mango and ginger juice and mango leather. My favorite and most successful have been mango leather which is quite addictive, especially with a dash of cayenne.
Mango Leather recipe
4 very ripe mangos pealed and seeded
Pulp flesh in blender and sieve when blended
Add spices as required, clove, cinnamon, nutmeg.
Place in pan and boil for ten minutes stirring constantly
Line flat baking tray with grease proof paper and oil lightly
Pour mixture and spread out evenly approx. 5 mm thick
Place trays in hot sun to dry for 3 days
Peel off and cut into thin strips
Mango Leaf Tea
A tea can be made by boiling the leaves in water for five minutes. Leaves are also known to be used in powdered form and mixed with hot water as a tea to treat diabetes, hypertension, coughs, respiratory problems, voice loss, and earache
* It is important to note as with all herbal medicines to do additional research as individual health conditions need to be considered and consult your doctor if you are on prescribed medication.
ALTERNATIVE USES
Timber - The tree also produces good quality timber
Skincare - Butter from the seed.
Textile Dye - As part of my research into natural plant dyes for textiles, I am interested in the tannin content of this tree. I have done some simple experiments by boiling mango leaves which I feel are quite successful.
Successful Dye Experiment using a boil and sun print technique
It has been a mission this year to re live childhood memories and taste as many mango varieties as possible. Growing up on the island we had the whole of St. Aroment as our playground before the houses were built. There were mango tree of all kinds, along with guavas, limes and the occasional mangosteen tree. Each mango had a different aroma, texture and flavour. These are just a few varieties common to Dominica. Grafted mango or mango Julie, mango licka, mango belly full, mango barbe, mango long, mango woz, mango cherie, mango Bitter skin ……..
How many mangoes can you name?
I am saddened to see how much fruit goes to waste on this island these days. Mango trees laden with fruit which fall and are left to rot. Have our taste and ways of living changed so much that we prefer to fill shopping baskets with boxed juices full of sugar, artificial flavours and preservatives? It always makes me smile when I see someone sit by the roadside and bite into a fresh fruit.
I was so grateful this year to be given some mango barbe. My favorite. A long thin mango and a rare treat. The smell evoked memories of a wild and free childhood growing up in the St. Aroment area of Dominica before it became a residential area it is today. To re-live the experience through the unique aroma, peel back the skin and bite into the flesh and pull up the juice with my teeth along its long hairy fibers. There is a ritualistic order of mango eating......relaxed, in peace and alone. Picking fibers stuck between the teeth afterwards is part of that ritual. To truly enjoy a good mango I believe is one of the simple pleasures of life. As a child, I remember after pealing the fruit, I would then rub the fleshy part all over my face, letting it dry like a face mask before washing it off. I would suck the last drop of juice from fibrous seed, wash the seed carefully, style the hair. This was a common childhood past time in the 70's and dolls heads would be made, decorated with madras head dress, neck wear and used to decorate the tops of pencils. Here in Dominica we do not utilize mangos to their full potential when they are in season and in surplus. They have many uses in other countries especially in Eastern medicine.
This season I have been creatively experimenting and researching ways of preserving and using mangoes. I made: Mango chutney, mango jam, mango cheesecake, mango upside down cake, mango and ginger juice and mango leather. My favorite and most successful have been mango leather which is quite addictive, especially with a dash of cayenne.
Mango Leather recipe
4 very ripe mangos pealed and seeded
Pulp flesh in blender and sieve when blended
Add spices as required, clove, cinnamon, nutmeg.
Place in pan and boil for ten minutes stirring constantly
Line flat baking tray with grease proof paper and oil lightly
Pour mixture and spread out evenly approx. 5 mm thick
Place trays in hot sun to dry for 3 days
Peel off and cut into thin strips
Mango Leaf Tea
A tea can be made by boiling the leaves in water for five minutes. Leaves are also known to be used in powdered form and mixed with hot water as a tea to treat diabetes, hypertension, coughs, respiratory problems, voice loss, and earache
* It is important to note as with all herbal medicines to do additional research as individual health conditions need to be considered and consult your doctor if you are on prescribed medication.
ALTERNATIVE USES
Timber - The tree also produces good quality timber
Skincare - Butter from the seed.
Textile Dye - As part of my research into natural plant dyes for textiles, I am interested in the tannin content of this tree. I have done some simple experiments by boiling mango leaves which I feel are quite successful.
Successful Dye Experiment using a boil and sun print technique
Colour in the Botanic Gardens
During this challenging time since the onset of Covid 19 and all its implications, we can hopefully spend some time to take a deep breath and admire the spectacles which are gifted to us by nature.
One of my passions as an artist is to explore the roots and routes of plants around us. I document my research and express creativity in various ways. This depends on how the plant speaks to me in its locality and also how it is valued in other cultures. I adopt a multidisciplinary approach to my art practice,exploring ideas through drawing, painting, sculpting, sometimes through writing and public sharing and also by experimenting with natural pigment and fibre extractions for textile designs.
In this sharing I will highlight two plants located in the Botanic Gardens, Roseau, Dominica. Both plants have been introduced to Dominica from other parts of the world. They are very rare in Dominica and each bring with them a unique story, as all plants have buried in their roots. Most of all they bring a vibrancy of colour through their amazing flowers.
Last week, on my shopping trip to Roseau, I drove through the Botanic gardens, my usual scenic route. Driving slowly through. I was struck by the majesty of two trees in particular, both ablaze with colour at this time of year.
As I set out on my journey, armed with mask and sanitizer, I was aware of rising anxiety going into Roseau after a period of time in 'Covid Lock down'. My spirit was immediately lifted and calmed by the sight of these two trees in full bloom and sporting my favorite shades of sunshine yellow and orange. A decision was made to stop on my way back from town to breathe in the fresh air and soak in the unbelievable colour spectacle before returning home.
The trees of focus today are both rare in Dominica and survivors in our Botanical treasure trove which was established in 1889. So many specimens have been lost over the years, most recently after hurricane Maria in 2017.
Last week, on my shopping trip to Roseau, I drove through the Botanic gardens, my usual scenic route. Driving slowly through. I was struck by the majesty of two trees in particular, both ablaze with colour at this time of year.
As I set out on my journey, armed with mask and sanitizer, I was aware of rising anxiety going into Roseau after a period of time in 'Covid Lock down'. My spirit was immediately lifted and calmed by the sight of these two trees in full bloom and sporting my favorite shades of sunshine yellow and orange. A decision was made to stop on my way back from town to breathe in the fresh air and soak in the unbelievable colour spectacle before returning home.
The trees of focus today are both rare in Dominica and survivors in our Botanical treasure trove which was established in 1889. So many specimens have been lost over the years, most recently after hurricane Maria in 2017.
1. Buttercup Tree ( Cochlospermum regium ) also known as yellow cotton tree.
The Buttercup tree is a small flowering tree endemic to Tropical America. It is also common in Southeast Asia. The tree is deciduous and grows to about 8 meters high. It starts blooming late in the year, shedding its leaves in spring and leaving a canopy of bright sunshine yellow flowers.
An online plant identifier was used to identify the name of this tree using photographs taken on my visit to the gardens. Some say it is a Brazilian Rose, which is Cochlospermum vitifolium, but in pictures I have seen the bloom appears much less complex. The English name Buttercup tree is also a bit confusing, because it is used for a few trees including Cochlospermum religiosum which also has much simpler flowers.
We are in the month of May and the tree is almost bare of leaves now. Tall thin branches are topped with clusters of large yellow flowers, each about 15 cm in diameter. A trail of flowers on the grass leads me to the tree and I look up in wonder. The canopy of yellow set against the clear blue Dominican sky is a sight to behold. An equal amount of fallen a flowers lie on the green grass below making the sight even more spectacular at this time of year.
As far as I am aware this tree is not utilized in Dominica and is purely ornamental. There are two specimens in the Botanic gardens at the moment and I also spotted one as I drove past State House today, all are in full bloom.
In Brazil this tree is used in herbal medicine to treat various infections and research is still being done into its medicinal benefits. In Thailand this tree is called Fai Kha and was introduced to Northern Thailand about 50 years ago, where it became a very popular ornamental plant.
In colour psychology, yellow resonates with the left side of the brain which deals with logic. It is also said to be a colour which stimulates the brain and brings about mental clarity. Because of its association with sunshine, yellow is an excellent colour to uplift the spirits and has associations with hope, joy, optimism, cheerfulness, courage and confidence,
A perfect colour for me on a day which required a boost in courage and spirit. I was even inspired to do a quick painting when I got home.
2. Bengal kino (Butea monosperma) also known as Flame of the forest, Parrot tree, Velvet leaf, Bastard teak, Paladha
Butea monosperma is an ornamental tree but is also has many uses in traditional Indian medicine. It was given its latin name Butea because of John Stuart, Earl of Bute an 18th century, patron of botany who had associations with Kew gardens in London.
It is a slow growing decidious tree of the fabaceae family. Native to tropical and sub-tropical parts of the Indian Subcontinent and Southeast Asia. This tree has bright orange firm flowers which have a plush velvety texture. Each flower has five petals attached to a dark green velvet cup which attaches them to the stalk. Some of the petals are flame shaped and when in full bloom the branches have a fiery appearance.
These flowers first appear in February and keep on forming up to May when the branches becomes loaded. The leaves are pinnate and slightly furry underneath arranged in three big leaflets, each leaflet 10-20 cm long. Most of the leaves fall between January to April and from March the tree becomes ablaze with fiery colour.
It is a slow growing decidious tree of the fabaceae family. Native to tropical and sub-tropical parts of the Indian Subcontinent and Southeast Asia. This tree has bright orange firm flowers which have a plush velvety texture. Each flower has five petals attached to a dark green velvet cup which attaches them to the stalk. Some of the petals are flame shaped and when in full bloom the branches have a fiery appearance.
These flowers first appear in February and keep on forming up to May when the branches becomes loaded. The leaves are pinnate and slightly furry underneath arranged in three big leaflets, each leaflet 10-20 cm long. Most of the leaves fall between January to April and from March the tree becomes ablaze with fiery colour.
This plant is important in the Hindu traditional celebrations for the festival of Holi which marks the birth of spring, a festival of bidding goodbye to the old and preparing for new beginnings. It is also used in Hindu culture to celebrate Shiva the deity associated with creation, protection and transformation of the universe.
As far as I know, this plant it is not utilized in Dominica. In other countries it has many uses, with each part from flowers, leaves, bark, seed, stem and gum having a purpose. The tree has been used extensively homeopathy and Ayurveda medicines for both internal, external and spiritual purposes.
Ink from gum was used in Asian cultures in the past. Fibre can be extracted from inner bark and roots. The flowers yield a yellow dye also used to colour textiles in some cultures.
As part of my ongoing natural dye research, I tried a simple experiment by boiling a few of the flowers to test dye potential. I treated some silk and cotton fabric samples with alum and iron mordants and then soaked the pre treated samples to test the dye quality.. I was very happy with the vibrancy and range of colours being acieved. Further testing will have to take place to determine stability of this dye.
As far as I know, this plant it is not utilized in Dominica. In other countries it has many uses, with each part from flowers, leaves, bark, seed, stem and gum having a purpose. The tree has been used extensively homeopathy and Ayurveda medicines for both internal, external and spiritual purposes.
Ink from gum was used in Asian cultures in the past. Fibre can be extracted from inner bark and roots. The flowers yield a yellow dye also used to colour textiles in some cultures.
As part of my ongoing natural dye research, I tried a simple experiment by boiling a few of the flowers to test dye potential. I treated some silk and cotton fabric samples with alum and iron mordants and then soaked the pre treated samples to test the dye quality.. I was very happy with the vibrancy and range of colours being acieved. Further testing will have to take place to determine stability of this dye.
All photographs taken by Carol Sorhaindo and copyright of the artist.
Memories of plants and site
Our connection to place and culture is impacted on by the plants we associate with in our landscapes, many of which are imprinted in our memory. In this post I will highlight two trees in the Dominica Botanic Gardens which bring a smile as I reflect on a fun childhood growing up in Dominica and walking through the gardens after school. These two trees are the Velvet Tamarind Tree and the Cannon Ball tree. The history of the plants found in botanical store houses such as the Dominica Botanic Gardens should be valued and documented as an important part of our heritage. Memory and human stories give a voice and life to the history of a place.
Dominica played an important role in the economic expansion of Britain even after slavery was abolished and well into the 20th century. The Dominica Botanic Gardens established in 1889 is sited on a former sugar plantation. It was a satellite station of Kew Gardens in London and was an important testing ground for tropical plants brought in from all over the world. Many of these specimens have been destroyed over the years by hurricanes and other circumstances.
With trade and global exploration came the increasing fascination with the new and exotic botanical species, “Gardens became like precious jewel boxes in which each gem was laid out side by side in order to be inspected and admired." (Wulf A. 2008)
The title of this post ‘Cannon Balls and Velvet Hearts’ reflects Dominica’s turbulent Colonial history, a history full of invasions, battles. To this day our landscape is littered with evidence of this. Today cannons can be seen strategically sited at many of our heritage locations.
Black velvet hearts for me symbolize the African souls taken from their homes and transplanted into Dominican soil as a result of The Transatlantic slave trade. Tamarind, a tree which makes me reflect on the sourness of this part of our African history, a tree connected with the hangings of our African ancestors on the plantations.
Our connection to place and culture is impacted on by the plants we associate with in our landscapes, many of which are imprinted in our memory. In this post I will highlight two trees in the Dominica Botanic Gardens which bring a smile as I reflect on a fun childhood growing up in Dominica and walking through the gardens after school. These two trees are the Velvet Tamarind Tree and the Cannon Ball tree. The history of the plants found in botanical store houses such as the Dominica Botanic Gardens should be valued and documented as an important part of our heritage. Memory and human stories give a voice and life to the history of a place.
Dominica played an important role in the economic expansion of Britain even after slavery was abolished and well into the 20th century. The Dominica Botanic Gardens established in 1889 is sited on a former sugar plantation. It was a satellite station of Kew Gardens in London and was an important testing ground for tropical plants brought in from all over the world. Many of these specimens have been destroyed over the years by hurricanes and other circumstances.
With trade and global exploration came the increasing fascination with the new and exotic botanical species, “Gardens became like precious jewel boxes in which each gem was laid out side by side in order to be inspected and admired." (Wulf A. 2008)
The title of this post ‘Cannon Balls and Velvet Hearts’ reflects Dominica’s turbulent Colonial history, a history full of invasions, battles. To this day our landscape is littered with evidence of this. Today cannons can be seen strategically sited at many of our heritage locations.
Black velvet hearts for me symbolize the African souls taken from their homes and transplanted into Dominican soil as a result of The Transatlantic slave trade. Tamarind, a tree which makes me reflect on the sourness of this part of our African history, a tree connected with the hangings of our African ancestors on the plantations.
Velvet tamarind (Dialium indum)
Also known as Monkey tamarind, African velvet tamarind, Yuk Lee and locally as tamawen – vlu
In Igbo it is known as Icheku, In Yoruba as Awin, and Hausa as tsamiya-kurm. It is also called licki-licki by some people
The Velvet tamarind tree was located in the ornamental section of gardens close to the Cannonball tree. Sadly it is now lost to us since the passing of hurricane Maria in 2017. This fruit-bearing evergreen tree, prefers a tropical climate and is native to S.E Asia and tropical areas such as West Africa.
It belongs to the family Leguminosae, and has small, flatish fruits with a beautiful hard shell covered in the smoothest black velvet. When cracked open there is a brown edible pulp which surrounds a single brown seed. When the pulp is sucked it has a tamarind flavour with a dry powdery texture. The tiny fruit are popular in Sierra Leone, Ghana, Nigeria and Senegal and in Asia the pulp is collected and mixed with spices and served as a sweet which sounds very much like our much loved tamarind balls.
The flowers are white and arranged in shoots and are loved by hummingbirds, bees and butterflies
In Dominica the fruit though small was loved by children walking through the gardens on their way to and from school. Many adults who enjoyed the gardens in younger days will remember Velvet tamarind and searching in the grass for the tiny black velvet hearts which had fallen from the tree.
The Velvet Tamarind fruit in many countries is used in traditional medicine. The leaf, bark and the fruit are valued and used in herbal applications. This fruit is also known to be mineral and vitamin rich, acts as an antioxidant and promotes digestive health. The tender leaves of velvet tamarind have been used in skin treatments to stimulate the growth of healthy skin and protecting wounds.
I find it fascinating when I look back to things we ate as children, unusual fruit and plants which unknown to us at the time, we now find that many of these have health benefits. I would love to hear from anyone who has special memories of this tree or any other unusual trees in the gardens.
Also known as Monkey tamarind, African velvet tamarind, Yuk Lee and locally as tamawen – vlu
In Igbo it is known as Icheku, In Yoruba as Awin, and Hausa as tsamiya-kurm. It is also called licki-licki by some people
The Velvet tamarind tree was located in the ornamental section of gardens close to the Cannonball tree. Sadly it is now lost to us since the passing of hurricane Maria in 2017. This fruit-bearing evergreen tree, prefers a tropical climate and is native to S.E Asia and tropical areas such as West Africa.
It belongs to the family Leguminosae, and has small, flatish fruits with a beautiful hard shell covered in the smoothest black velvet. When cracked open there is a brown edible pulp which surrounds a single brown seed. When the pulp is sucked it has a tamarind flavour with a dry powdery texture. The tiny fruit are popular in Sierra Leone, Ghana, Nigeria and Senegal and in Asia the pulp is collected and mixed with spices and served as a sweet which sounds very much like our much loved tamarind balls.
The flowers are white and arranged in shoots and are loved by hummingbirds, bees and butterflies
In Dominica the fruit though small was loved by children walking through the gardens on their way to and from school. Many adults who enjoyed the gardens in younger days will remember Velvet tamarind and searching in the grass for the tiny black velvet hearts which had fallen from the tree.
The Velvet Tamarind fruit in many countries is used in traditional medicine. The leaf, bark and the fruit are valued and used in herbal applications. This fruit is also known to be mineral and vitamin rich, acts as an antioxidant and promotes digestive health. The tender leaves of velvet tamarind have been used in skin treatments to stimulate the growth of healthy skin and protecting wounds.
I find it fascinating when I look back to things we ate as children, unusual fruit and plants which unknown to us at the time, we now find that many of these have health benefits. I would love to hear from anyone who has special memories of this tree or any other unusual trees in the gardens.
Cannonball tree – Couroupita guianensis carrion tree
The Cannonball tree is native to the tropical forests of northern South America, especially the Amazon Basin. It is also found in India, Thailand and parts of Africa. The tree was given its species name Couroupita guianensis by the French botanist J.F. Aublet in 1755.
This tree was severely damaged during hurricane Maria and like much of the vegetation on the island is still in recovery. This year I am pleased to see it is bearing its first fruit since the hurricane.
The Cannon ball tree is an unusual tree as most trees bear their flowers and fruits on the branches, rather than along the trunk. The large round fruit are rusty brown in colour with rough skin. The mature fruit are about the same size and resemble cannon balls, hence the name. The ripe fruit have a white flesh with many seeds and when exposed to the air the flesh turns blue. In some countries the fruits are eaten, but only occasionally because of the unpleasant odor. The brightly coloured flowers are zygomorphic and measure around 12 cm across. They are thick and waxy in texture with a sweet scent attractive to bees and bats which aid pollination
The extracts of some parts of the Cannonball tree are said to possess antibacterial and antimicrobial properties. In some cultures this plant is valued for its medicinal properties with extracts of different parts of the plant being used to treat hypertension, tumours, inflammation, common cold, stomach ache, skin conditions, wounds and treating toothache. In some Asian countries it is valued as having cultural and religious significance.
The Fruits have hard shells which are used as containers and the wood of the tree is used to manufacture boxes, toys,
Cannonball tree – Couroupita guianensis carrion tree
The Cannonball tree is native to the tropical forests of northern South America, especially the Amazon Basin. It is also found in India, Thailand and parts of Africa. The tree was given its species name Couroupita guianensis by the French botanist J.F. Aublet in 1755.
This tree was severely damaged during hurricane Maria and like much of the vegetation on the island is still in recovery. This year I am pleased to see it is bearing its first fruit since the hurricane.
The Cannon ball tree is an unusual tree as most trees bear their flowers and fruits on the branches, rather than along the trunk. The large round fruit are rusty brown in colour with rough skin. The mature fruit are about the same size and resemble cannon balls, hence the name. The ripe fruit have a white flesh with many seeds and when exposed to the air the flesh turns blue. In some countries the fruits are eaten, but only occasionally because of the unpleasant odor. The brightly coloured flowers are zygomorphic and measure around 12 cm across. They are thick and waxy in texture with a sweet scent attractive to bees and bats which aid pollination
The extracts of some parts of the Cannonball tree are said to possess antibacterial and antimicrobial properties. In some cultures this plant is valued for its medicinal properties with extracts of different parts of the plant being used to treat hypertension, tumours, inflammation, common cold, stomach ache, skin conditions, wounds and treating toothache. In some Asian countries it is valued as having cultural and religious significance.
The Fruits have hard shells which are used as containers and the wood of the tree is used to manufacture boxes, toys,
References
An illustrated guide to Dominica’s Botanic Gardens, Forestry, wildlife and parks division
Wulf A. (2008) The Brother Gardeners: Botany, Empire and the birth of an obsession, windmill books, London pg.91
https://bariballagriculture.com/products/velvet-tamarind/
https://www.finelib.com/about/tropical-fruits-and-vegetables/about-tamarind-and-its-health-benefits/226
Okoye Ngozi (2019) Lick Your Way to Health with Liki Liki https://www.pharmanewsonline.com/lick-your-way-to-health-with-liki-liki/
https://www.healthbenefitstimes.com/cannonball-tree/
Photographs by Artist Carol Sorhaindo
Welcome to my Blog. Through these posts I will share my creative journey as an artist, one which will include botanical reflections, natural dye and fibre explorations, creative writing and musings; an ongoing unravelling, spinning and weaving threads.
This has taken a long time to come to fruition since 2015 when I graduated from Leeds College of Art, UK (now Leeds Art University) with an MA in Creative practice. Where has 5 years gone and what have I been up to as an artist since then. I am a great believer in the saying 'every thing in its time'.
The word 'BOTANGLED' is used as a brand name for my natural dye textile creations but it is also so much more - Botanical Entanglement sums up my creative journey and an investigation of migration and living between two worlds of contrast, England and The island of Dominica in the Caribbean.
How are these worlds woven together? What inspires me as an artist and how do I explore this in my Creative Practice as I traverse the landscape? The plants I encounter bring me constant joy by their diversity and beauty. These plants also inform culture by their very use and association, raising lots of questions. How can I unpick this intertwined botanical web? Can this investigation contribute to a better understanding of the complexities of migration and concepts of historical entanglement?
This has taken a long time to come to fruition since 2015 when I graduated from Leeds College of Art, UK (now Leeds Art University) with an MA in Creative practice. Where has 5 years gone and what have I been up to as an artist since then. I am a great believer in the saying 'every thing in its time'.
The word 'BOTANGLED' is used as a brand name for my natural dye textile creations but it is also so much more - Botanical Entanglement sums up my creative journey and an investigation of migration and living between two worlds of contrast, England and The island of Dominica in the Caribbean.
How are these worlds woven together? What inspires me as an artist and how do I explore this in my Creative Practice as I traverse the landscape? The plants I encounter bring me constant joy by their diversity and beauty. These plants also inform culture by their very use and association, raising lots of questions. How can I unpick this intertwined botanical web? Can this investigation contribute to a better understanding of the complexities of migration and concepts of historical entanglement?
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