GA GARDNER’s GETTHRU, Thru Contemporary Arts exhibition in Cologne, Germany
At the opening reception for “People Textures Environment” in Cologne Germany, the first exhibition by Thru Contemporary Arts.
Tag Archives: Caribbean contemporary art
GA GARDNER’s GETHRU, Thru Contemporary Arts, and his exhibition in Cologne, Germany
9 Apr
Artist and founder of GETHRU, GA Gardner working in his studio. In April the organization’s project, Thru Contemporary Arts, will sponsor an exhibition in Cologne, Germany bringing together artists from all over the world.
“GA Gardner 3” Mixed media collage on mylar (2012) is part of the collection.
Caribbean art org shares collection with GermanyBY OLIVE VASSELL
When a Caribbean-based collection of international contemporary art comes to Cologne in April, organizers hope the exhibition will create an opportunity for cultural and artistic exchange, as well as allow the public to have a unique creative experience.
“Issues relating from the Far East to Western society are addressed, using everything from realistic to abstract approaches. The works chosen from the collection for this exhibition explore the use of space and culture, ” says visual artist GA Gardner, whose non-profit organization, GETHRU is behind the event.
Gardner formed GETHRU in 2014 in his Trinidad and Tobago birthplace to use the arts as a way to educate.
“After being in the USA for over 25 years and working as a professor, publisher, artist and education consultant to various universities, I wanted to continue to use art as a tool that can help educate and bridge economic gaps. I wanted to be involved with art activism in developing countries, so I founded GETTHRU,” said Gardner.
GETHRU’s first project, Thru Contemporary Arts, is sponsoring the Cologne exhibition. The project was made possible in part by a grant obtained through the Caribbean Museum Center for the Arts, and is designed to give developing nations greater access to contemporary art by managing and curating exhibitions of a public collection of international work.
“This is an international organization with affiliations with various countries including the USA, Asia, and Europe. However its message is one that will best benefit the people of developing regions such as the Caribbean, where access to an international body of contemporary art is limited. More is needed to educate these communities about the depth of contemporary art,” Gardner explained.
In addition to reaching underserved communities, Gardner saw the importance of connecting with other contemporary artists and their audiences. He says that while in talks for a solo show of his mixed media art in Cologne, he realized that he could use the opportunity to bring contemporary artists from Germany, Trinidad and Tobago, and other nations together. He worked on the idea with Judith Ganz, a contemporary artist and curator in Germany, who he said was very instrumental in facilitating the change in direction and in planning the exhibition.
Over 10 artists from Europe, the Caribbean, Asia and the U.S. will participate in the show, which is titled, “People Textures Environments,” and runs from April 11-19. The event will feature a wide body of work, including photography, installation art, paintings, collage, embroidery, sculpture and other mediums from the collection.
Among them are Gardner’s mixed media work, which discuss today’s media saturation and uses material that he collected on the streets of Berlin in 2014; Adele Todd, who uses embroidery to examine crime in Trinidad and Tobago; Ganz who paints surreal environments and Clary Estes’s photography, which is a visual dialog of the health care system in China.
Following the show, Thru Contemporary Arts will quickly be back on the road again. First up is an exhibition close to home in St. Croix, the U.S. Virgin Islands and then serving as host for the first Thru Contemporary Arts Week in partnership with the Art Society of Trinidad and Tobago. Further exhibitions in Europe are also being planned for this year. And, of course, the organization will remain focused on its mission.
“We continue to seek out new contemporary art for our permanent collection. This is the sauce as they say, the art. The quality and diversity in the permanent art collection will be our tool for providing an in-depth holistic contemporary art experience.”
For information about GETHRU and the exhibition in Cologne, Germany visit GETRHU.org
To read the article in full: http://euromight.com/article/thrucontemporary
Please contact Morton Fine Art for available artwork by GA GARDNER.
Morton Fine Art, 1781 Florida Ave NW, Washington, DC, USA
+001 (202) 628-2787
mortonfineart@gmail.com
ARC Magazine interviews GA GARDNER on his show “Timeless Remnants”
2 Oct
Audible fragments amid the noise: An interview with GA Gardner
Thursday, September 25th, 2014 Categories: Exhibitions, Features, Updates
Gardner’s contemporary art practice homes in on the colossal machine of mass media and the messages it churns out. He extracts bits of information, dislodging them from specific moments in time to create new narratives; new points of identification and fresh collages of meaning that have personal and collective resonance. In the lead up to the show at MFA, Gardner shares insights into his art, revealing the influence of his life in and travels between the Caribbean and the U.S., his navigation of the terrain of randomness, and his engagement with the territory of patterns. The artist also speaks about the significance of timelessness in his work and his commitment to making Caribbean and African identities audible amid a din of Western communications.
Marsha Pearce: The exhibition Timeless Remnants seems to draw on discourses of psychology, including the work of such thinkers as Sigmund Freud and Carl Jung. Freud posited the idea of “archaic remnants” or an “archaic heritage which a child brings with him [or her] into the world” (1940, p167). Jung also proposed his ideas. In addition to what he saw as a personal unconscious, which serves as a repository of experiences that are unique to each person, Jung asserted the notion of a second psychic system. He called this second system the collective unconscious and described it as that which is inherited. Does your work engage with a universal inheritance that you are deliberately making conscious with your art? If so, what do you see as that inheritance and how do you attend to it in your creative practice?
GA Gardner: I believe that I, like all human beings, am influenced by what has come before me. That might mean the personal structure of my familial ties, as well as the influences of artists before me. I don’t believe that any human being or artist for that matter, can create in a vacuum. I see my inheritance, if you want to call it that, as one that is traced back to my African roots at the primal level and to my Caribbean heritage, most recently. That is overlaid with my experience in the United States, where I have spent most of my adult years. So, I call on all of these influences, this inheritance – this collective unconscious – in my work. I use the rhythms and colours of Africa and the Caribbean to filter the “sounds” and “expressions” of America’s global communication machine.
MP: You seem to be foregrounding a specific collective unconscious; or pinpointing specific groups – African and Caribbean people. I am thinking though, about your attention to a global proliferation of media and messages in your art. Are we perhaps more and more the inheritors of a cacophony of media messages? Do you see that as an inheritance that is largely unconscious and one that goes beyond African and Caribbean “boundaries”?
GAG: Yes, that particularly applies in the 21st century, with the global reach and access of media messages.
MP: I want to return to Jung as a reference point. According to Jung, the collective unconscious is said to be expressed through archetypes or patterns. Can you talk about the role of patterns in your work?
GAG: Patterns are a fundamental component of my work. They often emerge from randomness as information is literally sliced out of context to form a montage of images that carries random conversations. These overall patterns and shapes are replicated from ancient African and modern Caribbean design. Like the Kuba people of central Africa I am interested in the construct of pattern and design. In addition, I find and use contemporary materials and I add a Caribbean colour palette to create art that best symbolizes our current state of being. Though I allow the process to lead, I commit to cultural forms and lines – for example, the geometric foms and lines that are inherent to cultures like that of the Kuba people – as guides for the direction of a piece. This does allow patterns to emerge uninhibited from my work. This is the magic of the creative process – a life, seemingly of its own, that the artistic endeavour engenders.
MP: Your visual amalgams of material remnants seem time consuming. How does the passage of time factor into your work? How might the concept of timelessness enter your visual statements?
GAG: Since my work reinvents and reinterprets material, timelessness is at the center of my creative expression. Once I have disassociated material from its former use and place in time, I allow it to flow free; to be unfettered from the moment it was created, or from any limitations of space or time. The repurposing of these fragments of communication produces an ageless, timeless new identity, which frees my work from temporal boundaries.
MP: You live and work in the Caribbean and the USA. What is it that remains with you as you move between those spaces and how do those remnants of experience in both spaces inform your work?
GAG: My work is conceptual; it represents the struggle for identity that we all face in the midst of globalization – chiefly, the dominance of Western influences and the struggle to be heard amongst all the noise of media. This is apparent in my travels; therefore I am compelled to represent this conflict in my art. I am not one who watches TV nor am I a news junky; I try my best to tune these elements out of my life. The very nature of going between these two countries reinforces the need for the messages in my art. It is born of the fact that we in the Caribbean consume so much foreign media that we are often at a loss for our personal and cultural identity.
I bring the printed content of North America’s vast media machine to the Caribbean and recycle it, extracting its artificial hues, and often add a rich colour palette found naturally in my Caribbean surroundings. This is the synergy I want in my art. I am making a statement that despite the dominance of Western media, Africa and the Caribbean will be heard – at least through the colour palette and patterns in my mixed media art.
The exhibition Timeless Remnants runs from September 26 to October 17, 2014 at Morton Fine Art, Washington, DC, USA.
– See more at: http://arcthemagazine.com/arc/2014/09/audible-fragments-amid-the-noise-an-interview-with-ga-gardner/#sthash.d5zYGO5i.dpuf
Marsha Pearce is ARC’s Senior Arts Writer and Editor. She holds a PhD in Cultural Studies from the University of the West Indies (UWI) St Augustine Campus, Trinidad. She lectures in the Department of Creative and Festival Arts at UWI and is also a freelance arts writer for the Trinidad and Tobago Guardian newspaper. Pearce is the 2006 Rhodes Trust Rex Nettleford Cultural Studies Fellow.
– See more at: http://arcthemagazine.com/arc/2014/09/audible-fragments-amid-the-noise-an-interview-with-ga-gardner/#sthash.d5zYGO5i.dpuf
“Timeless Remnants” – Washington Post’s Gallery Opening of the Week
30 Sep
We are pleased to announce a wonderful turn out to Friday night’s opening of “Timeless Remnants” featuring abstract artworks by MAYA FREELON ASANTE, GA GARDNER & CHOICHUN LEUNG. Many thanks to Michael O’Sullivan and the Washington Post for highlighting the exhibition at “Gallery Opening of the Week” in their Friday, September 26, 2014 edition!
Morton Fine Art: curator's notes 