Cover image: Homeboy II (2023) Series: Skysoul. Moses Ros, Dominican Republic, Screenprint sculpture, 11 x 14 inches
Founded in 2011, the Caribbean Fine Art Fair (CAFA) celebrated its 14th Edition in March this year (Bridgetown, Barbados) where it welcomed over 50 participating artists representing 16 Caribbean nations in addition to Ghana, Nigeria, Senegal, UK and USA. 3 regional galleries based in Dominica, Guadeloupe and Martinique also presented their artists, as well as a group from the Casa De Arte y Cultura de la Playa de Ponce, Puerto Rico. Several hundred visitors attend the Fair in person each year.
I remember hearing about the CAFA via the Caribbean Museum Centre for the Arts (USVI) in conversation with its Museum Manager at the time, during the Covid-19 pandemic. I was happy to hear that there was another Art Fair happening in the Caribbean region – usually, we are expecting to hear of these types of Art events in the “big wide world” ie. beyond our shores. So, I’d made a mental note to attend one day.
This year 2024 – was one of more intentional mobility, partnerships and connections within the region for me. It was important for me to attend this Fair for several reasons: to experience the Fair myself, meet fellow Art colleagues, get a sense of the Barbadian artscape, and listen to the conversations about what it (really) takes to make Art and operate Art structures in our region, especially from the folks doing the foundation work.
CAFA provided all of the above and more. While I was there for the Art Fair, of course HOT SUN CCA was on duty! My week was filled with incredible studio visits, I met up with the phenomenal Fresh Milk team, visited the NCF National Art Gallery where I chatted with Oneka Small (Curator at the Queen’s Park Gallery)… It was another kind of joy to finally meet Shari Phoenix, Anna Gibson, Kraig Yearwood – in person – artists whom I’ve been working with and championing since day one of HOT SUN CCA back in 2021. Also bonus! Running into the brilliant Artists: Sheena Rose, Simone Asia and phenomenal Artist & sculptor Julianna Inniss.
Vegigante Matojo (2023) Rachel Smith, Puerto Rico, Charcoal, spray paint, acrylic latex, cannabis, sage, coffee, wood, wire
At 14 years old, CAFA is not one of those sprawling, mega budget, glitzy Art Fairs, yet it boasts an impressive range of artists, Collectors and visitors – regional and international – to their modestly appointed waterfront venue in Bridgetown each year. Accessible, uncomplicated, eclectic, Art for everyone, featuring a diverse range of artwork and creative expression. On opening night, I had the absolute pleasure of meeting so many more Artists, new colleagues: Haitian – US career artist Vidho Lorville, Rachel Smith (Puerto Rico), Tau Battice (St. Kitts and Nevis), Ludwig Medina Cruz (Puerto Rico) and Lauren Boniface, Talent Agent & Founder Saint Art 700 (Martinique). And of course, I was able to interview Anderson Pilgrim (Executive Director, Co-Founder) amidst the busy-ness and excitement of CAFA 2024.
Interview
Preparation (2020), Marica Honychurch, Dominica, Digital Photography Print, 24 x 16 inches. Image courtesy: Vetivert Contemporary Fine Art Gallery, Dominica
Adeline Gregoire: What’s your connection to Art and Barbados?
Anderson Pilgrim: I was born and raised in Barbados and emigrated to the US in 1983 to pursue studies in Business and Marketing at Bernard Baruch College – CUNY. As a teenager in Barbados I was introduced to the arts in its fullness at the then Yoruba Yard founded by Elombe Mottley, who subsequently became the first Director of the National Cultural Foundation. After leaving high school and working briefly in the banking sector I found that I had an ability to work with creatives and artists, they also needed representation and management to achieve their goals. This is where the idea for Diaspora Now Inc. (my management company) was born. I was later instrumental in propelling the careers of 3 Barbadian sculptors in the late 1970’s and early 1980’s whose unique wire sculptures became ubiquitous in local gift shops, and were exhibited in T&T, St. Lucia, and Guadeloupe during this period. I also worked with a small group of artists to establish presentations of locally made art & crafts at the Paradise and Divi Hotels, an idea which was subsequently adopted by almost every other hotel on the island, offering artists an outlet to showcase their creations.
Good as Mine (2023) Barbara Russell aka Ms B The Doodle Queen, USA
Mixed media on paper, 11 x 14 inches
AG: What was your motivation to create this Art Fair in 2000? I’m also interested in hearing about the context within which it all started.
AP: The Fair was inaugurated in March 2011 after my original partners, the late Dr. Gloria Gordon (T&T) and Dr. Loris Crawford (Jamaica) met with me in 2010 and agreed the timing was right for an Art exposition in the region featuring the burgeoning and undervalued art created by Caribbean and Caribbean diaspora artists. This after the success of Caribbean Visions: Contemporary Painting & Sculpture exhibition curated by the great Samella Lewis which traveled to 4 US museums from 1995 (Gloria Gordon was a graduate assistant who worked closely with Samella on the exhibition and wrote the catalogue preface). The exhibition catalogue is a seminal document and much sought after by collectors. I consider both Dr. Gordon and Dr. Crawford, my mentors and their work inspired me to push the boundaries of a stiff and exclusive art world.
Estructura Intuitiva (2020) Ludwig Medina Cruz, Puerto Rico
Acrylic on linen, 14 x 11 inches
AG: CAFA has been around for 14 years now, surviving a global pandemic in between (2020 – 2022) What does it actually take to run an Art Fair for all these years and how do you do it ?
AP: It takes partners, sponsors, volunteers, family support, and of course the support of the artists who participate and understand the vision. It takes dedication and belief in the quality and importance of the art being produced by artists in the Caribbean and the diaspora to our cultural growth and the art world in general. We have a structure which has served us well and we continue to tweak it, as well as welcome new ideas. It takes a team of people to execute such an event as we seek to increase the knowledge and impact of Caribbean visual art.
Chronic (2023), Michael Lees, Dominica
Digital Photography Print on paper, 12 x 18 inches
AG: CAFA presents itself as a major networking event for Artists and Art professionals in the region and beyond. What are the other objectives of this fair on a local level and internationally?
AP: On a local level we seek to engage the public and the youth to not only view the artwork on display but interact with the participating artists and presenters who are involved in our events. It is one of the reasons we are insistent on remaining at a location in the capital of Bridgetown which is easily accessible and close to public transportation. We have invited art teachers at primary and secondary schools to bring their students to the Fair as well as encourage them to participate in specially organized exhibitions held in conjunction with the Art Fair. This is where students get to meet and receive advice from established professionals. We have also mentored interns who are usually high school students interested in pursuing art careers or graduates of the Barbados Community College art program who are seeking guidance as they transition to earning a living as an art professional. Our focus internationally has been to provide information to and invite those collectors, curators, gallerists, writers, and others who are seeking to learn more about the abundant artistic talent evident across the 4 language groups of the Caribbean and its diaspora. We continue to build partnerships with regional and international institutions to create more exhibition and sales opportunities for the artists who present their work at CaFA Fair Barbados.
Livestock (2023) Vidho Lorville, Haiti – USA
Acrylic on Raw Linen, 12 x 14 inches
AG: How has CAFA evolved over the past 14 years and what were your Programme highlights for this year?
AP: CaFA Fair continues to evolve as we have from the inception invited Guest Curators to present their vision of Caribbean art in the form of specially curated sections within the Fair (this year we have partnered with a Barbadian duo under the name Artiverse to present 4 emerging Barbadian artists). This is the 11th year of Diaspora Dialogue which seeks to capture the artistic conversation between the Caribbean and the wider African Diaspora. Events featuring fashion, Film Screenings, Spoken Word performances, panel discussions of relevance, and interactive workshops are all elements of the Fair which connect with different audiences and introduce them to the main event. This year we partnered with the UWI Performing Arts program to present Film Night and a discussion with filmmakers Chantelea Commin from Guadeloupe and Alan Springer from Barbados. Bajan Geek Sheet is our acknowledgement of the growth of Anime, Cosplay and Comic book culture not only in Barbados but across the region as we embrace the next generation of creatives. Our Saturday printmaking and therapeutic painting workshops proved to be a very successful programming inclusion as both were oversubscribed. Finally, panel discussions featured the work of Guadeloupean artist Jocelyn Akwaba Matignon (influences of native Amerindian cultures on contemporary Caribbean art) and Caribbean awareness of Climate Change: causes, effects and solutions, were timely discussions which brought together an audience fully engaged and eager to discuss these issues.
Violet (2011) Series: Liamuiga Love, Oualie Ovation. Tau Battice, St. Kitts & Nevis
Digital Archival Photography Print
AG: What are the main challenges, even obstacles in producing a Fair like this? Funding seems to be a regional issue in the areas of Art and Culture. Could you share your perspectives?
AP: Funding continues to be an issue because many of the major potential government and corporate sponsors have not traditionally viewed the visual arts as a vehicle which can contribute tremendously to economic growth or branding visibility (nationally and regionally). Even with legislation across the region to codify the benefits of investing in visual art and the arts in general there is still a hesitance to support the visual art sector and benefit from the exponential growth of Art – as an industry – as well as the opportunities to expand market reach and brand recognition. An Art collection is an asset which normally does not decrease in value over time even in the direst of financial crises. There needs to be greater understanding of the industry within the region, the international impact and economic benefits to be derived by investing in this sector.
AG: In 2025, CAFA will turn 15 years – a milestone for any organisation. What are your hopes for next year and the next 5 years?
AP: We would like to see increased sponsorship and support from government agencies responsible for culture as well as corporate entities who would also benefit from visibility of supporting our artists at other international Art Fairs and exhibitions to which they have been invited. Our future plans include seeing the Fair travel to other Caribbean destinations, as well as solidifying the partnerships with regional and international cultural centers and museums which offer increased residency and exhibition opportunities.
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Beyond the Beach.
BIMbastic like Barbados, Tallawah – Tiny but Mighty, and no time to play. I reflect on the abundance – ABUNDANCE – per capita, per km2 of the artists, art community, art makers – living and working in Barbados as I write this. Barbados is a beautiful brilliant island in the sun. Beyond the breathtaking views of postcard beaches, white sand, the impression of walking through a pleasantly put together garden, the hand painted menus on walls, colour blocking on small shops lining downtown Bridgetown…a reminder of our deep(er) connections to each other here in our Caribbean space. More importantly though, a reminder that there is an off-the-charts level of artistic production present in our islands.
Art Fairs, Art exhibitions, Public Art installations, Murals, art spaces, art events or rather Art engagement – at any scale, of any nature – have their role to play in the ecosystem that is Art.
Art Programming matters on national, regional, economic, societal and psychosocial, human levels. Art Funding matters now, more than ever for us all here in the Caribbean.
No money, no nothing.
Personally, I’m truly looking forward to seeing CaFA Fair grow into a more spacious venue in years to come. The craft space of the Pelican Centre downtown Bridgetown certainly responds to imperatives of accessibility and tourism, but CaFA is expanding… and as we know, Artists need space, light and air: to expand, breathe and thrive.
CaFA is currently preparing for its 15th Edition in 2025! Hopefully I see you there!
More about CaFa >> visit cafafair.com
The work I loved at CaFA Barbados this year!
Credits
All Artwork highlighted with authorisation from CaFA Barbados, Carla Armour of Vetivert Contemporary Fine Art Gallery Dominica and all featured artists.