Joshua Norwood’s Work @ From Here Exhibition

In December 2022, Joshua Obara Norwood’s work appeared in the group exhibition ‘From Here’ at the Open Eye Gallery. This exhibition was held from the first of December to the 22nd in the Digital Window Gallery.

The official viewing from the gallery is on their YouTube page.

Out of the works I selected to be shown are of the SET FREE THOSE EMOTIONS! collection, which you can currently purchase as a digital collectable here. There was not much space on the screen, so there wasn’t a great description.

Therefore, on this page, we will highlight the meaning of this collection and the exhibition.

From Here: SET FREE THOSE EMOTIONS

The idea of the collection is to be a genre-crazy collection of artwork subjected to removing themes while exploring human emotional tendencies to artistic style. Since there is no set theme, the collections’ artworks can swiftly change in style and subject. The idea is to eliminate the idea of a theme dominating the space and rather have emotion take charge. This is strikingly different to the previous collection that I have worked on, the Color Nudes.

The exhibition itself, however, was a collection of volunteers’ works. It also did not have a set theme that harmonized with my collection.

artwork that appeared on from here
The collection is seen on the CNFT store website, JPG.store.

Though, at the exhibition, the idea of an NFT was left out due to the public relation on that topic being divided. Instead, it was shown as a simple collection of abstract expressionist works. The works were primarily created with oil sticks rather than being painted with a brush. The oil stick gives a much more personal touch and strikes to the paintings.

Climate Lab- The Last Day of the LAB!

This post explores the last day of the LOOK Climate Lab at the Open Eye Gallery!

The LOOK Climate Lab was an exhibition at the Open Eye Gallery that lasted from the 13th January to the 20th March. It was organised into 4 separate concepts, linked on their site. You can view my walk-around video of the gallery below.

A quiet tour of the Look Climate Lab.

I valued the exhibition while I volunteered at the gallery; makes you realize how our lifestyles harm those living in worse conditions. How can we complain about the effects of climate change if it does not starve us? We created it- and yet we don’t see the adverse effects as bad as those who never contributed. Small lifestyle changes can be used to help reverse the effects of climate change.

LOOK Climate Lab: Gallery 3
My favourite part of the exhibition. Copyright of the film previews is subject to their creators. If one wishes to take it down please email me.

My opinion on the “Energy” phase of the exhibition.

This section of the exhibition was rather eye-opening to see how much energy we waste. How simple would it be if we could all afford aerogel? Insulate our homes and lose less heat energy while using less energy. Countering this with the fact that- if our homes are insulated; in the summer how would we react with air conditioning. Air conditioning contributes to climate change as well.

More insulation may mean more air conditioning- as with the Earth getting hotter; I think that it might be a cycle. Though I do not have any qualifications or knowledge in science- so this is just an uninformed opinion and take it with a pinch of salt!

Funnily enough, the aerogel’s texture is powdery! You’d never really expect that with a gel.

LOOK Climate Lab – Food

I will admit; I did not pay much interest to the two in-between phases. Therefore, I can not comment on them. Though I believe that it had shared insight on how we can remit some effects of climate change if we start to grow our own produce.

The small exhibition at the end by Hellen Songa was very eye-opening and shows how much easier it is to start growing. It also shows the community feel to it, you can view her exhibition on Open Eye Stories as well.

The third gallery.

Going to the third gallery we saw a LOT of films playing- I didn’t really watch them, however. Problematically, in my opinion, there is no place to sit while watching the films so I didn’t want to spend hours watching a video standing up. It’s just not convenient or comfortable. A gallery I believe is supposed to be a comfortable space and not alienating of anyone. It can possibly be seen as an accessibility problem.

As much as I love the Open Eye and enjoy volunteering at it– there are inevitably going to be some problems I encounter.

Other than that, there were plants inside of the third gallery. For instance- I took one of the spiderweb plants home since they gave some of them away at the end. It’s actually quite nice to see plants inside of a gallery space- it makes it more down to earth!

(HA) The Jamaica Making Exhibition and a Special Interview with Dr Emma Roberts

This section also contains an interview with Dr Emma Roberts listed at the bottom.

Tuesday 22nd February, 14:00 to 16:00, we visited the Victoria Gallery for Emma‘s exhibition on Theresa Roberts collection of Jamaican art.

Introduction

Personally, the artwork exhibited in the gallery piqued my interest. The skill and talent that went into the artwork were impressive and to be exposed to the art of a country that I have never been exposed to is an eye-opener. Gallery was laid out as a small space to emulate what Theresa Roberts’s house would be like (apart from the fireplace!), creating a personalized environment. Cosy and casual, with beautiful paintings of still life to the politicized paintings in the second room. The mixture of sculpture and many other media also shows how wide-ranging contemporary art can be and it doesn’t simply have to be the Eurocentric painting.

The personal atmosphere of the gallery creates a cosy area; for reference take- it is around the same size albeit a bit smaller than the Garstang Museum.

Besides the visit to the gallery, the interview exposed me to the impact of non-European contemporary art and the process of bringing artworks into an exhibition. These recent works tend to be picked up by collectors, so it really only takes someone, like Emma, to get them to be exhibited by making the connections necessary for that to happen.

Before the interview, Emma had told me while in the gallery that she got in contact with Theresa Roberts by accident through another person. Sometimes, life throws a bucket of good luck at you and the right circumstances. I believe with this as an example is that contemporary art history is created through unique events and through creating those connections. An artist cannot break through if the artist doesn’t promote their work, connect with others and show their work.

Interview with Dr Emma Roberts

(Josh) Did you connect with any of the artists showcased in the exhibition as a curator?

(Emma) Yes, actually a lot. With the earliest artwork only being 1964 in the exhibition, many are pretty recent artworks like 2010 and 2017. So many of the artists are still alive, so I emailed them or went through their agents to email them to contact them. Then they replied that it was really valuable to get the information straight from the horse’s mouth.

(Josh) Did some of them not reply?

(Emma) Some of them didn’t reply, but all of them that did were really nice. And they’ve continued to help like I got quotes and things from the artist who did all the very sexual images, Kristina Rowe, and since then. Oh, I should mention that she’s been happy to do the YouTube video on the outreach! To be on the art gallery website, they continued to help.

How does this help their careers?

(Josh) Do you think the exhibition will help proceed their careers further?

(Emma) Yes, I supposed I do think that. I know I’m talking myself up by saying that because while the artists are really well known in Jamaica- not all of them are known in Europe (or the UK). So, for example, O’mar McKay did the video piece- I don’t think he’s exhibited anything outside of Jamaica his whole life before because he’s still young. So far, the people I’ve been with within the gallery have received it quite positively, and it’s not in the collector’s collection. So Theresa Roberts, who gave most of the collection, doesn’t own the O’mar McKay work, but now she will probably take an interest in his work. Maybe buy some of his, so I think it will help some artists’ careers.

(Josh) What, to you, is so unique about Jamaican contemporary art?

(Emma) Hmm, unique about it? I’d probably say that it’s merging European influences and Afro-European influences. That’s what’s nice about it; the mixing of those. You can still see the references to Picasso, Matisse and Dali, but they’re thinking about their indigenous culture and the African culture that came through the slave trade. So it’s the mixing of that. In much of European contemporary art, we don’t have such a diverse range of influences behind it – it might be UK-based influences instead.

Who collects the art?

(Josh) How do you think Jamaican art will be viewed by future historians?

(Dr Emma Roberts) That’s an excellent question; I feel that it’s on an upwards trajectory. For example, 20 to 30 years of art from Haiti was really picked up, especially by Americans, especially the collecting of primitive Haitian art. However, Jamaica is a really good turning point, so I think now. I wish I had more money to hand to buy things because if I bought some stuff now, it might be worth a lot of money in ten years. Again, I shouldn’t be thinking about money. As I said the other day, I think it will be more widely collected in galleries like the Tate or by very wealthy collectors, so it’s on the upwards rise.

(Josh) Do you think not just the United Kingdom will be collecting this artwork?

(Emma) Yes, I think- especially America because they’re quite close geographically to Jamaica. Philip Thomas did his self-portrait in a shirt and tie; he’s been taken up by a dealer in America, and his work has been shown quite widely. Oh- there’s an artist not in the exhibition called Andrae Green – he got a government scholarship to train in New York. He now lives in America, and the Americans are now really picking up on his art – so I think the Tate might buy it. Other European countries and soon America will hopefully be buying a lot of Jamaican art.

How do you find the art?

(Josh) What goes into the process of finding art for the exhibition? What gets an artwork was chosen and another not?

(Emma) I suppose I was a bit limited for this exhibition because I only really had access to the collection of Theresa Roberts plus the artist in residence and O’mar McKay- the video artist. So I didn’t have access to everything else, which would have been amazing Jamaican art, but I suppose I could talk about why I filtered things out there when I did have access to Theresa’s collection. The main thing was that I wanted a variety of media, and I didn’t just want paintings because I could have just done an exhibition on paintings from Theresa’s collection. After all, she has got loads. I definitely wanted mixed media things such as photos, sculptures, fabric and as much of a variety that I could get- that was the main thing. I also wanted a good age range, so the oldest work was Albin Marriott’s carved wooden head to going right up to 2019 when the exhibition was in really full throes of being planned. So it’s a good age spread and definitely key names- I wanted Albert Huie and Barrington Watson to be there and (Edna) Manley’s sculpture of the Greek Orpheus. That was another criterium.

(Josh) Talking about Caribbean countries, would there be any other country you would want to do an exhibition on?

(Emma) I’m not really as knowledgeable about the other islands, but I would love to! For my work in my spare time, I’ve done a lecture on the art of Barbados, which was, for me, very interesting. So Barbados would be my next-in-line lecture after this, but I don’t think I’ll have the opportunity if I did. I’ve learnt a lot more about Barbadian art.

Behind the scenes and YouTube!


(Josh) Talking about lectures, do you do online lectures, YouTube by any chance, or would you consider going into doing those?

(Emma) I would be open to it- I haven’t done that yet, but where I do, I do other online lectures but not very publicly accessible. I work for cruise ship companies; on my holidays, I go onto cruise ships and speak about art history to the passengers there. They’re all broadcasted and shown on the cruise ship, and the company owns those then, so they can just show them as much as they want. If you’re not on the cruise ship or have access to the company, you can’t access them. I would be willing to do YouTube videos- one of those cruise companies is Viking, and they have a digital TV channel called Viking TV, so I’ve done two TV programmes with them. You have to know it, to see that it’s there. If you Google Viking TV, then it will probably come up there.

(Josh) How did you get the exhibition and the gallery to run the exhibition? Anything behind the scenes?

(Emma) In the second year in the history of art – you have two curating modules, and in that, we teach everybody to do a curatorial proposal assignment. Hence, what I did for myself is that I used that template of a curatorial proposal, and I wrote it out fully and sent it to the Victoria gallery. I thought that they’re not as popular as the Tate or the Walker, and they would be more open to my suggestions maybe- which they were. So once they received the curatorial proposal, they thankfully liked it, and they invited me for a meeting. So that’s how it happened.

That was the interview with Dr Emma Roberts on the Jamaica Making exhibition!

(Josh) I think that’s all for the interview! Thank you and see you in two weeks!

(Emma) Have a good week until then!

(Josh) Thank you!

(Emma) Thanks or you’re welcome! Bye!

(Josh) Bye!

Listen to this on my Podcast: