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Today Women In Art Organization of Trinidad and Tobago pays tribute to member artist Valerie Belgrave, a brilliant academic, artist, author and social activist, who died on August 23rd, nine years ago. I remember meeting Valerie years ago at one of WIAOTT's meetings. I can still see her standing, confident and radiant, promoting one of her books, Art for the People. Years later, when I became President of WIAOTT in 2015, she submitted a gorgeous painting called The Girls’ Club, especially created for our WIAOTT Annual Members’ Exhibition in September and I still remember it quite vividly because it gave me such joy to behold.  So, when I learned almost a year later that Valerie had succumbed to cancer, it came as a great shock and a great loss to me. I, together with several other members, attended her funeral and it was there that I learned the full impact of how much we had really lost when Valerie died. Valerie's impact on the civil rights movement on the local and international stage has been memorialized in the documentary, Ninth Floor , and upon her death, the local media published much about her work as an artist and author. However, I hope that the following excerpts of my exclusive interview with her son and heir, Chenier Belgrave, provide an insight about Valerie as a mother and who she was at her core. Interview With Chenier Belgrave, dated, 19/8/25 @1:pm Subject: Valerie Belgrave, artist, author, humanitarian, activist “She was a problem-solver. She was not the type of person to look at a problem and say, “Oh woe is me.” She would say “OK, this is the problem, now how do we solve it” Q: Can you give me an example of this? A: (After an accident at school) I remember ending up in Casualty and while everyone else was panicking, she was very focused on asking the relevant questions to address the emergency... even my birth was planned. While Valerie was a student in Canada she had her son there so that he obtained a Canadian passport and as a Canadian citizen, was eligible to study at the Sir George Williams University (now Concordia), the very location of the sit-in protest against racism that Valerie participated in, which led to the documentary film, Ninth Floor . Valerie was also a planner and her work “had a commercial purpose to it”. According to Chenier “we committed to find our way through art”. When she returned from Canada in the early 1970’s she staged her first solo Textile show, consisting of Batik designs, under the theme “The Medium is the Message” at the Trinidad Hilton. This statement was echoed with greater resonance as Valerie’s designs were launched to the sound of Tassa and African drums, a first for the Hilton in a post- colonial era. It was a statement that art should be accessible to everyone, not just the elite. Valerie Belgrave's 1st batik exhibition, Trinidad, 1974 Q: How did you experience your mom’s creative process as a child? A: Art was always happening. My mother was a person who would burn water. Housework took a back seat. She lived her art. You know there are some who pose as artists? She didn't pose... she was an artist.  But she knew how to make adjustments, she never missed a Parents’ Meeting, but when she was making art, everybody knew what time it was. Q: What life lesson did Valerie leave that had the biggest influence on you? A: Believe in what you believe. Believe in what you are doing. Valerie “did not try to sound bright." She lived her philosophy of “power to the people” and believed that “once everything belonged to the community, then everything would be alright”. Chenier quotes his father, Teddy Belgrave, as saying that “He admired how she lived what she believed”, for although she was “one of the architects of the Black Power Movement she did not “embrace it one hundred percent ” as she was against oppression of all forms... not just oppression specific to black people... so she had white friends”. Valerie “enjoyed being the Permanent Secretary of the Student Guild at The University of The West Indies because it allowed her to influence some of the bright, intellectual minds such as David Abdullah and Brother Resistance to name a few. They called her Val”. She, however, eventually gave up the position for the sake of an important self-care ritual - her afternoon siesta from noon to 3:00 pm. Apart from the minds that she molded in life, Valerie’s legacy lives on through her paintings such as:  The Girls' Club, (created for WIAOTT Members Show 2015,) Walking In The Rain, Girl with Hoola Hoop, (inspired by a friend ‘s daughter) and Great Fête Weekend, (an initiative of her son, Chenier). Before she died, Valerie traveled extensively to Egypt, South Africa, India and the Mediterranean but her artwork continued to be deeply influenced by her cultural identity as a Caribbean woman. As a testament to her focus and clinical genius, Valerie’s home in San Juan, was designed to include an art gallery and it is Chenier’s intention to exhibit her work there. In 2024 he relaunched his mother's book, Art for the People and he also plans to make reproductions of selected original paintings. Valerie was also an accomplished author. She wrote Ti Marie (1988), Dance the Water (2002) Night of The Wolf (1991 based on The Coup of 1990) and Adventure of The Magic Steelpan (a Children’s Book) Her books are currently available at TriniShop, (Trincity Mall and Piarco) and will soon be available in our online shop . The brilliance of Valerie Belgraves’ creative genius cannot be overstated and it is my hope that her life and legacy will inspire women all over the world. Ninth Floor About The NINTH FLOOR Ninth Floor  is a documentary produced by the Canadian National Film Board in 2015 written and directed by Mina Shum. It explores a pivotal moment in Canadian race relations when in 1969, a group of Black West-Indian students at Sir George Williams University (now Concordia) in Montreal accused a biology professor of discrimination based on evidence of unfair grading. The lack-lustre response from the University generated multiple student-led meetings, sit-ins, and peaceful protests. Things came to a head when over 400 students occupied the university’s computer lab and engaged in negotiations with a reluctant administration. A break-down in negotiations resulted in 97 arrests by the riot police and $2 million worth of damage some of which was allegedly attributed to the students. Sir George Williams University, The Henry F. Hall building in 1970. Photo credit: Conrad Poirier   All local images have been posted with the kind permission of Chenier Belgrave. The author also references an article published in the Trinidad Guardian dated 16/10/16 by Fayola K J Fraser, as a source of information. Written by: Michelle Tappin-Davis

When creativity meets purpose, transformation happens. This was the vision driving the recent cultural exchange between Trinidad and Tobago and Panama, where artist, educator, and social impact strategist Anika Plowden-Corentin  took the lead in collaboration with Trinitica International director Aleah Guitan in coordinating a dynamic international experience rooted in art, diplomacy, and empowerment. Held from July 6 to 9, 2025, the program brought together students from St. Francois Girls College, Queens Royal College and Panamanian institutions through a rich agenda of exhibitions, workshops, and dialogue. With the support of the Embassy of Trinidad and Tobago in Panama , GALA Galería de Arte Latinoamericano , and cultural ministries from both nations, Anika served not only as artistic mentor but also as the visionary who nurtured connection beyond borders. Art as a Bridge Between Nations For Anika, art has always been a tool for storytelling and social healing. “Art speaks a language everyone understands. When we use it to build cultural exchange, we are not just sharing beauty - we are sharing identity, dreams, and values,” she says. The exchange, part of the Diplomacia Cultural  project, saw Trinidadian students presenting their artwork inspired by Panama’s history, people, and vibrant cultural sites, from the historic Casco Viejo to the Museum of the Mola and the Miraflores Visitor Center. The highlight was a showcase of Anika’s own work where her pieces sparked conversations on heritage, womanhood, and resilience. A special meeting at the Panama Government Palace Museum featured a curation of her works, now part of GALA’s current exhibition. “It was surreal,” Anika reflects. “To be in a space where voices of Latin American alongside international artists are seen, heard, and preserved. It reminded me why this work matters.” Mentoring the Next Generation As lead artist and coordinator, Anika made it her mission to empower her students not just as creators, but as global citizens. She organized artist talks, reflective sessions, and journaling workshops throughout the trip. “This wasn’t just about painting or performance, it was about self-discovery. I wanted them to see their art as a passport, a mirror, and a tool for social change,” she explains. Each student was tasked with creating a piece that reflected their interpretation of Panamanian culture through a Caribbean lens. The final presentations at the Embassy of Panama Trinidad and Tobago were met with praise, symbolizing the power of youth voices in shaping regional unity. Participants with artist, Jean Quiano ,Creative Director and Founder, Jean Decort 507 (at centre) Legacy in Motion This initiative is only one chapter in Anika’s larger mission to fuse art and wellness for collective healing. As a strategist and founder of Chosen Hands , an award-winning social impact program in Trinidad and Tobago, Anika has worked for over a decade at the intersection of community development, mental health, and creative expression. Her workshops in schools, and women’s shelters have used art as a vehicle for trauma recovery, confidence building, and intergenerational dialogue. Her approach is deeply intersectional - embracing traditional craft, visual storytelling, and holistic wellness practices. From grassroots communities to international forums, Anika’s influence continues to ripple outward, inspiring a generation of changemakers who understand that art is not a luxury, but a necessity. About Anika Plowden-Corentin Anika Plowden-Corentin  is a Trinidadian visual artist, social impact strategist, and cultural curator. She is the founder of Chosen Hands - a transformative art and wellness program dedicated to using creative expression for healing, empowerment, and social justice. Through murals, mentorship, and mobile studios, Chosen Hands has impacted communities across the Caribbean. Anika’s work has been featured in national galleries, international summits, and educational institutions. She is passionate about art as activism and believes in creating space for every voice - especially those that have been silenced. Whether she’s leading a workshop in a school or hanging artwork in a museum, Anika remains devoted to one mission: healing through art, one chosen hand at a time. Aleah Guitan, Director, Trinitica International (left) with Anika Plowden- Corentin, Founder, Chosen Hands(right) Ale Sanguine, Director of GALA (Galería de Arte Latinoamericano) Aleah Guitan Director, Trinitica International, Anika Plowden-Corentin, Founder, Chosen Hands, and Miguel Sinclair-Alfredo Sinclair House Museum, Panama The next Art Immersion Program is carded for December 2025! Don’t miss this transformative opportunity to connect, create, and collaborate. The program is designed to provide a powerful platform for local creatives and emerging artists to explore the business of art, creativity, and culture on a global stage.   Dates:  11th – 15th December 2025  Location:  Panama   Reserve your spot or get more info: +1 868-797-8937+1 868-751-6278 Please take a moment to visit the folllowing link for the top 20 Women Art Blogs on the web https://bloggers.feedspot.com/women_in_art_blogs/?feedid=5554772&_src=f2_featured_email

Walking into the 14th Biennial Art Competition and Exhibition for 5th and 6th Form students, hosted by the Women In Art Organisation of Trinidad and Tobago at the Central Bank Museum for the first time, was breathtaking. The vast space was filled with vibrant colors, striking sculptures, paintings, and stunning photographs. Every wall was adorned with artwork, each piece telling its own story. The atmosphere was electric, with young artists and art enthusiasts moving from one exhibit to another, admiring the immense talent on display. My heart pounded with excitement and nervousness as I stepped closer to my work, wondering how it would be received among such incredible creations.    Seeing My Artwork on Display Standing before my sculptures and photographs, I felt a mix of joy and disbelief. My sculptures, which I had poured countless hours into, stood proudly on their pedestals, illuminated by the museum lighting. My photographs, neatly matted and printed in high quality, captured flowers in nature from my perspective.  Visitors paused to examine my work, discussing their interpretations. Some admired the textures of my sculptures, while others pointed out details in my photographs that they found compelling. Seeing strangers engage with my art and react emotionally was heartwarming. For the first time, I realized my art had the power to connect with people—a realization that filled me with joy.  Exploring Other Artists’ Work While seeing my work displayed was exciting, I was equally eager to explore the rest of the exhibition. Moving through the exhibition, I was captivated by the variety of artistic styles and mediums. It amazed me that such impressive work was created by young artists like myself.  Some had crafted bold, colorful paintings, while others displayed delicate, detailed drawings, sculptures, and ceramics showcasing impressive skill. Each piece told a story, offering a glimpse into the artist’s perspective.    I was particularly drawn to a series of mixed-media artworks that blended photography and painting in a unique way. The young artist had painted tiny photographs, mimicking professional photos, creating a nostalgic and mesmerizing effect. Inspired, I made a note to experiment with similar techniques in my future projects.    An Atmosphere of Inspiration One of the most remarkable aspects of the exhibition was the shared passion and creativity in the room. Artists eagerly exchanged thoughts about their inspirations, techniques, and creative journeys. I had the chance to speak with several young artists, exchanging thoughts and learning from each other’s experiences. Some had been entering competitions for years, while others, like me, were participating for the first time.    Teachers, parents, and art lovers moved through the hall, offering words of encouragement. Their appreciation reinforced the value of every artist’s work and made the event feel like more than just an exhibition—it was a celebration of creativity.    The Emotional Impact Being part of such a prestigious event was both inspiring and overwhelming. Surrounded by extraordinary talent, I felt moments of self-doubt. I wondered if my work was good enough. But as I saw people genuinely appreciating my art, I realized that art is not about competition; it’s about expression, connection, and growth.    When the winners were announced, I was overwhelmed with gratitude. I won second place for Sculpture and third place for Photography. Just as I thought the awards were over, my heart pounded as I heard my name again—I had won the LeRoy Clarke El Tucuche Challenge Trophy for the Most Outstanding Student.   I was shocked and grateful as I walked up to receive the award, thanking the Lord for this opportunity. Holding the trophy, I knew my hard work had paid off, and my artistic voice was recognized.   The exhibition was more than showcasing my work—it connected me to a larger artistic community, deepening my love for art and strengthening my desire to keep improving and experimenting. Walking through the exhibition, taking in the diversity of styles and perspectives, I felt a renewed sense of motivation.    A Lasting Memory As the exhibition came to an end, I took one last look at my artwork, feeling an immense sense of fulfillment. I thanked the Lord for the opportunity He had given me. The experience was invaluable—a moment of recognition, reminding me that my artistic voice mattered. The exhibition was not just an event; it was a turning point in my journey as an artist, one I would always cherish and draw inspiration from.   I thank the WIAOTT for this invaluable experience, my family, and my art teacher, Ms. Fabien, for always encouraging me to do my best. Written by Soriah Lawrence

The long-awaited 28th Annual Members’ Exhibition by the Women in Art Organisation of Trinidad and Tobago (WIAOTT), titled “Expressions,” opened at Gentle Studio on Long Circular Rd, Port of Spain, on Tuesday, November 5th, 2024. The exhibition showcased a variety of vibrant and diverse voices of local women artists, including myself, who are members of WIAOTT. Our works were screened by a panel of judges who selected the best artworks that fit the criteria for selection. Each piece invited viewers to stop and engage in a visual conversation, brimming with personal narratives and cultural richness that reflected the artists’ unique perspectives on life, identity, and community. Burning Passion, Vritti Ramnarine As one of the featured artists, I felt honored to be part of this celebration of culture and creativity. My piece, “Burning Passion,” explored the contrast between the complementing colors, blue and orange. This experimentation was depicted by a dancing figure caught mid-jump. The flow of the piece represented my passion for pursuing a goal and the unyielding motivation of pushing forward within each of us. The exhibition fostered a greater appreciation for the arts by creating a platform for local women artists to express themselves. It stood as a testament to the diversity of thought and the power that art carries. Since its founding in 1996, WIAOTT has been a beacon of empowerment, amplifying the voices of diverse women and student artists across Trinidad and Tobago. For over 28 years, this non-profit organisation has been instrumental in nurturing talent, promoting cultural heritage, and supporting the role of women on the local art scene. Through Gentle Studio, Dr. Ramcharitar, the owner, provided an ideal space and accommodating services that effortlessly created the warmth of an artistic ambiance within a corporate space. This intimate setting, with its welcoming atmosphere and attentive service, allowed visitors to feel an immediate connection with the artworks. Upon entering, the gallery was alive with vibrant energy, filled with artists, patrons, and supporters, all eager to share this celebration of local talent. A view of the gallery and its patrons As my eyes roamed the room, I was immediately drawn to the bold, vivid works of Michelle Boyd and Kechervi Voisin . Their intense, thought-provoking pieces seemed to encourage viewers to pause and reflect on themselves, sparking conversations about life and identity. From there, my gaze wandered, and I found myself immersed in the various artistic styles and expressions that filled the space. From colorful paintings and intricate drawings to fabric works and delicate jewelry, each piece told a story in its own unique way. Marie Pat Farrell-Frederick with her piece, When the Sun Turned Green Among the many talented artists showcased, Marie Pat Ferrel-Federick stood out with her use of unconventional materials: found objects, yarns, and paper. Her works were layered collages, combining quilting, patchwork, embroidery, and beading, exploring themes of nature, imagination, and the beauty of reimagining everyday scenes into art. Her pieces felt like a beautiful blend of the old and new, inviting viewers to reconsider the world through a different lens. The opening night featured various prizes awarded across a variety of categories. These included Best Drawing (Cleo Lewis), Best Acrylic (Ann Stapleton), Best Oil (Joy Jones), Best Watercolour (Vejaya Mungal), Best Fabric (Leona Fabien), Best Pop-Art (Halcian Pierre), Best Architecture (Sonia Alexis), Best Pastels (Mionne McKenzie), Best Expressionism (Michelle Boyd), and Best In Show (Lisa Hutchinson). Each award felt like a well-deserved recognition of the passion and dedication these artists poured into their craft and encouraged me to continue working hard and follow my passion. The Opening Night of WIAOTT’s “Expressions” exhibition was successfully executed, drawing a number of art lovers, dignitaries, and supporters to the show. Among the distinguished guests were former First Lady, Mrs. Hassanali, and the Mexican Ambassador, His Excellency Victor Hugo Morales Mélendez, whose presence added a sense of prestige to the evening. As the gallery gradually filled with energy and excitement, it was clear that this exhibition resonated deeply with the attendees. I look forward to the next WIAOTT Members’ Exhibition, scheduled for the Central Bank in November 2025. Written by: Vritti Ramnarine (WIAOTT Member)

Pop-up markets have been a new and thrilling venture for me, and I’ve truly embraced the experience for so many reasons. Andrea Kanneh at an Art Market Stepping into this space hasn’t been easy. It takes courage to put myself—and my work—out there, hoping that others will appreciate it as much as I do.   Art has always been God’s gift to me, and while I find immense joy in sharing it, I still feel nervous every single time. Thankfully, I’m surrounded by an incredible support system. My family sits with me through every market, cheering me on. My friends drop by to show their support or send positive vibes from afar. Their unwavering encouragement means the world to me and helps me push forward.  Andrea Kannen and Michelle Tappin-Davis, President, WIAOTT This journey began earlier this year when I took the leap and joined the Women in Art Organisation of Trinidad and Tobago (WIOATT).   After 30 years of keeping my art hidden, I finally summoned the courage to sell my pieces at the WIOATT table during the NEDCO event at Mille Fleurs for Independence weekend. I was incredibly nervous—exposed in a way I’d never been before—but to my delight, I made sales and received heartfelt appreciation for my work. That experience was transformative and marked the beginning of this new chapter in my life. For any artist looking to grow and connect, I highly recommend joining groups like WIOATT . Since that first art market, I’ve participated in several others—some art-focused, others general pop-up markets. Each one has been a unique experience, with success often depending on factors like the organisers, location, timing, weather, or nearby events. While it’s a learning process, I remain grateful for every opportunity to showcase my work and connect with others. Art has become an integral part of my life. As a certified life coach and professional with a background in IT and education, I’ve discovered ways to merge my skills and creativity. These markets provide yet another avenue for me to engage with people through art and share meaningful experiences.  Even more special is the chance to share this journey with my family—three generations of Kanneh women—who each bring their unique talents to our table: Artwork: Prints on stretched canvas, matted prints, greeting cards, and bookmarks—all created by me as the artist. Beaded Jewellery: Stunning, handmade pieces patiently crafted by my niece. Local Literature: Conversations of Trinidad and Tobago, a heartfelt collection of local short stories written by my mother, Myrna Kanneh, at the inspiring age of 85. If you haven’t already, I encourage you to explore my mother’s incredible work on her website: https://myrnakannehauthor.com/ .   Pop-up markets are more than just sales opportunities—they’re spaces for growth, connection, and celebrating creativity. Along the way, I’ve met other talented artisans who inspire me to keep pushing forward. I thank God every day for this gift of art and for the courage to keep sharing it with the world.   Join me and other artisans at my upcoming markets: UpMarket's Night Market at the Lions Cultural Centre (by the Stadium in Port of Spain) on Friday, 20 December until 9:30 pm. The Christmas Market at Hilton Trinidad - Savannah Terrace, on Saturday, 21 December, from 4 pm to 10 pm. UpMarket Day market at the Lions Cultural Centre on Sunday 22 Dec from 9 am – 4 pm. Written by Dr Andrea Kanneh

I attended an art exhibition recently. I am, by far, no art critic; the art was beautiful and soothing to my mind. My brain freely delivered one-word adjectives on a mental platter: fanciful, dreamy, reflective, whimsical, imaginary, pristine, kaleidoscopic. The list goes on. My eyes were drawn time and again to the presence of - muted and otherwise- a shade of nearly fluorescent pink. I wonder how these guys came to have an affinity for pink. Guys…. the artists were all men. Not your everyday-in-the-street man but those with the past and present experiences of being incarcerated for crimes committed. It was called “Our New Beginning.”  It was my first experience with prison art and here I am, a Women in Art member writing about men in art… kind of. “Our New Beginning” took place at the Long Circular Mall from August 12 to 17. It is the Trinidad and Tobago Prison Service’s Annual Inmate Art Exhibition and, is a collaboration between the national Prison Service and the Raja Yoga Prison Ministry. For more than a decade, inmates have been provided with an invaluable forum to showcase their art annually to the public and generate an income for themselves, their families and the prison programme that attends to the rehabilitation process for prisoners. As far I  understand it, art is very much a product of the prison service’s Programme and Industry Department, along with literacy programmes. My casual enquiry of the officers stationed at the mall revealed that art supplies are provided by the prison service and the inmates’ families. Proceeds from the sales are funneled back into the programme, to the inmates and their families. There is a designated communal space for this activity or, I am told, inmates may opt to paint in their cells. I noted that there is freedom in canvas size. Some pieces are very large, and some are very small; there is freedom of choice in this regard. I reflected on the ironies of prison freedoms even whilst I drew a breath in recognition of names once not nationally recognized in the context of pretty paintings. I moved through the exhibition once, for casual appreciation. And then twice, to ruminate on elements and principles….positioning myself for imaginary peer review (after all, I am an artist).  I focused on themes. What would be the dominant themes of inmates? My younger and naïve self would have imagined dark and dismal themes, elements of rebellion or even a reflection of a macabre past. Instead within each frame is a composition that assembles and reassembles fragments of a pristine life- real or imagined, projected perfections and that pink paint. What do inmates project onto their canvases? Nature, flora, fauna, the female motif, religion, romanticism, landscapes and a few abstracts.  One featured ‘mother’. Painstaking attention to detail is the hallmark of most of their works. The luxury and realization of the artist’s time is evident in the final product.  The work is executed in acrylics, oils, airbrush and some mixed media as far as I can see. My second overview recognized a general commonality in the entire exhibition. Some inmate artists painted solo while others collaborate on one piece. So, in several pieces I would have indeed recognized dominant styles. There were commonality in themes, confident use of bright colours, bold strokes and a lot of deep thought about what each painting was supposed to look like. In every piece I saw an appreciation for life, hope and a reimagining of each man’s life. But I am still figuring out the pinks. Please click HERE to view more photos of the exhibition. Written by Niala Dwarika ( womeninart-tt.org )

President's Address Greetings! My name is Nalini Akal, and I am the newly appointed president of The Women in Art Organisation of Trinidad and Tobago (WIAOTT). Thank you for your interest in our flipbook for the 2022 exhibition "Signs". WIAOTT recently celebrated 25 years and it certainly marked a new chapter in our history as a charity that has silently supported female artists and the youth of our country. Projects such as our Biennial Art competition which will occur next year has had an impact on many young and emerging artists. Last year we began our National Treasures colouring book which is only the beginning of this project stream, and we initiated a concept called Film Lab. I remember our founder Fraulein Rudder with her maverick mind, fighting for female artists who at the time were considered "pots and pans artists", in other words only being able to create art between taking care of the home and family. Today we claim that title as women who create art, despite familial and work obligations. We recognise the strength of our artists and during the pandemic with the help of our executive and great team members, we formed a stronger online presence. We are still harnessing the power of this technological jump that was created for our artists and we truly are in a state of readiness for the opportunities that lie ahead. Our website is alive with interactions via blogs and social media, our chat is filled with advice and information, and one can really feel the sense of community among our membership. This is also our first year extending our exhibition to Tobago and joining our Tobago Artists as they prepare for Carnival. I trust that support and awareness will increase for this vibrant group, and I assure you that if you blink you just might miss some crucial phases in our future development. Nalini Akal

The world has faced grueling challenges over the past few years due to the life-threatening events that have besieged humanity…. Artists in particular have had to dig deep, as resourceful creatives often do, in order to endure, even in the face of iconic works of art being destroyed due to global conflicts like the war in Ukraine. In these tumultuous times we have seen first-hand how humans globally have reached out to artists for a lifeline of support, enjoyment, motivation, and enlightenment. Through our artwork we can bring unity to our beautiful twin island state and to the rest of the world. We can express the cascading emotions of the voiceless and the invisible. We can enlighten minds made numb by apathy and cynicism. To the despondent and the fearful we can be Signs of Hope. We’ve been fortunate to have had the pleasure of exhibiting at the prestigious Rotunda Gallery, located at the House of Parliament in Port of Spain, Trinidad. Now – we’re taking this show on the road… - (or on the boat), over to Tobago at the breath-taking Kimme Museum. Greeting you at the entrance is a towering, dancing, Tobagonian couple. The Kimme Museum is an artist’s dream - a dream manifested by artist and sculptor, Luise Kimme who arrived in Tobago in 1979. She created a magical space, overlooking Mt Irvine Bay where her greatest works were inspired - bronze and wooden sculptures of men, women and children of Tobago. Luise Kimme left us a part of her legacy to enjoy. It’s the kind of legacy we as artists dream of leaving behind and we are so privileged and incredibly lucky to be a part of it. The Exhibition will open to the public from Wednesday, October 19 to Friday, October 28. Museum hours are from 11:am to 4:pm, Monday to Saturday and there will be planned activities including “Sip and Create” with Askala George and a “Stained Glass Demonstration” with Stephanie Pile. We look forward to seeing you as we share this magical space with fellow Tobago female artists. We hope, as artists, we can extend signs of hope, joy, camaraderie, motivation, and enlightenment.

THANK YOU to His Excellency Álvaro Sánchez Cordero and his Team at the Venezuelan Embassy for partnering with WIAOTT to host this beautiful exhibition, La Musica y el Arte de Mujeres Artistas, in honour of International Women's Day. Part proceeds from the sale of these paintings went to La Casita, a safehouse for Migrant Women.

I just came across this wonderful Karia Douglas interview with our member artist, Vidya Birkhoff. In it, Vidya shares her inspiring story of rediscovering her passion for art after years in the banking industry. Overcoming Discouragement and Embracing Art: Her story begins with the familiar struggle of many local artists - a family's discouragement and their belief that art is not a viable career path. However, after a lifetime of envy of those who could freely express themselves through art, a chance encounter with the Ani Art Academy in Anguilla in 2017, ignited a fire within her. Learning and Growing as an Artist: At the Ani Art Academy, Vidya dedicated herself to a full-time art curriculum for four and a half years, honing her skills in drawing and painting. As a result, the dream that had lain nascent within her flourished into the establishment of her own studio, Yellow Butterfly Studios, in Tobago. Capturing the Essence of Trinidad and Tobago: Vidya's art focuses on the vibrant culture of Trinidad and Tobago. Her aim is to evoke joy and positive emotions through her paintings. She takes inspiration from everyday moments and the stories they hold, as seen in her painting of Shamika experiencing the Tobago Heritage Festival. Beyond the Canvas: Sharing the Love of Art: Vidya's passion extends beyond her own artistic journey. Last year, she offered free art classes to inspire and empower Tobago's youth. This year, she has graciously agreed to co-facilitate, with fellow local artist Ken Crichlow, WIAOTT's first annual Artists' Retreat, FIRED UP! . You can view Vidya's work on her website https://www.yellowbutterflystudios.com/ or visit her studio the next time you're in Tobago, at the Esplanade on the Scarborough Waterfront. t

Today's "easy like Sunday morning" reflection was a mixture of art and adventure, golfers and gapers, WIAOTT AND watercolor. Yes, today was the al fresco session down at the St Madeline Golf Club where a big golfing tournament was taking place. For myself, I admit to being at the bottom of the rung where watercolor art is concerned. As an acrylic artist, watercolor is a strange bedfellow. I am not in denial, I suck at it. But. Redemption. Elsa Clarke.  Our plein aire lecturer was an engaging and uplifting teacher of the medium and she came prepared with samples for our enlightenment. I thereafter went with 'bon courage' to my pre-stretched sheet. The end product is not gallery-worthy, but key to today's instruction is a deeper and honest understanding of why my technique is weak and, like all else, mastery takes time and practice. I said all of that, a bit defensively lol because I am showing my morning's output in the montage below. Beyond that, the assembling of artists is always a happy occasion and artist camaraderie opens a window to a different type of peer appreciation. Last but definitely not least, our president Michelle is always to be applauded for what to me seems stress-free organization and cool-headedness. Thanks Michelle. Thanks to the driver for the safe journey. We had good , cool weather too, with some Sahara Dustiness that controlled the colours of the landscape. So quite simply, if you have never done it, try "en plein aire" at least once. It's really enjoyable. Cheers!

Have you ever heard of the CaFA Fair  https://cafafair.com ? Recently, I participated in the 14th annual CaFA Fair from March 6 – 10, 2024 in Barbados. It was a worthwhile experience to attend an in-person art fair post-pandemic. And for those unable to be there, check out the virtual platform https://www.caribbean.global . Here are my top ten takeaways as a participant: 10. Sharing and Socialising If marketing and promoting intimate you as an artist, I suggest socialising. c at CaFA Fair to share more about my practice. I engaged fellow attendees in conversations of mutual interests. It is an ideal time to socialise as everyone is curious about everyone! 9. More than the Exhibition I expected the displays from regional and diaspora art galleries and artists. However, the schedule of events was jam-packed with workshops, film screenings, presentations and discussions. Some activities cover interdisciplinary practices. If you are not a participating artist, you can still get involved. 8. Inspiration and Insights I enjoy challenging myself. The artworks from the region and diaspora sparked inspiration and provided insights for me. From the perspective of the creative process, I marvelled at the current trends and artistic styles. I also learnt more about different approaches to curating fine art. 7. Long-Term Financial Opportunities I rarely engage with collectors and art business professionals, but it was possible at CaFA Fair. Like most artists, art sales are essential. However, there is the potential for long-term financial opportunities such as commissions, art dealer partnerships, gallery representation or future invitations to participate in gallery shows. 6. Budgeting and Managing Expenses Before I even applied to participate in the CaFA Fair, I budgeted the estimated expenses related to in-person participation. It included airfare, accommodation, ground transport, meals and refreshments, shipping and participation fees. My advice to you is to make a budget and stick to it. 5. Reputation and Recognition Most CaFA Fair attendees I met for the first time there. So, I increased the visibility of my artwork and art business among regional and diaspora art collectors and galleries. It was an ideal way to build my reputation and gain recognition in the Caribbean and Diaspora art community. 4. Networking and Collaboration I connected with the other participants from day one at the CaFA Fair. I enjoyed networking with other artists for future collaborative projects and group exhibitions. What is most important is to share art opportunities that can bring us closer together as a region to access international creative ventures. 3. Professional Development I believe professional development is necessary for success. At the CaFA Fair, there was so much to learn about the art business and working the art circuits from artists who have attended previous CaFA fairs and exhibited at other art fairs and shows. I am more prepared now to venture out beyond the Caribbean. 2. Attendance as an Investment Some may see it differently, but I view attendance as an investment in gaining media exposure and access to international art markets. Online publications in Barbados and internationally covered the CaFA Fair. I may be uncertain about the return on investment given that there is no guarantee of gains, but the doors are open now. 1. Shipping Artwork My experience was quite challenging. Honestly, I had limited experience in shipping artwork in the region. So, now I know better with the timely advice of my fellow artists and the organisers. Utilise the brokers to navigate customs or make alternative arrangements to travel with the artworks. Written by Tavernelle Wells - www.tavernelle868.com March 2024 (photos published with the kind permission of Aaron Hamilton and Yaena Eugene-Carbon from Dominica)