EMERGING THEMES & TECHNIQUES

 

The discussion in the second half of the roundtable centred around the exploration of themes and techniques in Caribbean film, new media, and time-based media over the past five years. The TVE Facilitator asked the participants to reflect on recurring stories, themes, or ideas in their practices or in the work of others within the region.

​

Shari Petti highlighted several themes, including mental health, gender based issues and the treatment of women in the carnival space, and the effects of colonialism. She also shared her personal work on water scarcity in her community, documenting how residents adapt to the lack of direct water lines. Regarding techniques, she noted that while single-channel video is predominant in Trinidad, she has recently seen some multi-channel installations, though these are limited by resource constraints. Luis Vasquez La Roche added that the pandemic had a significant impact on the medium, leading to a shift from live performance to video performance, as artists adapted to creating for the camera instead of a live audience. He observed a merging of video and performance art, with artists experimenting with available technology, such as smartphones, and challenging traditional video quality standards. 

​

Russell Watson reflected on current art trends and his experiences as an educator during the pandemic. He noted that he discouraged his students from making pandemic-themed work, emphasising the need for distance and reflection, particularly at such a formative stage of their practices. Watson observed noticeable trends like metaphysical stories, world-building, and environmental themes. He also addressed the evolving relationship between amateur and professional media, highlighting how pandemic-driven public performances and digital media are influencing artistic practices.

​

Norma Springer spotlighted  a kind of “Intuitive style” within Caribbean time-based media, akin to the intuitive movement within Caribbean art history. Participants called attention to the challenges posed by limited resources, which may restrict the ability to push creative boundaries in video art and installation, described as being “caught at the crossroads of intention and capacity.”  The balance between intentional naivete within video art, and the difficulty for Caribbean artists to fully explore and innovate within the medium was discussed. The context of platforms such as Tik Tok was also included, which participants acknowledged provided more accessibility for expanded media, and  drives certain styles that align with visual trends of social media subcultures. 

​

Memory as an Archive: A Multi-faceted Exploration

​

The TVE facilitator tied these discussions to the broader theme of memory as an archive through the submissions received, which encompasses memory and recollecting as tools for unpacking issues like trauma, climate action and spirituality through time-based media. She introduced several video clips to illustrate these submissions. The overarching theme of memory emerged as a central axis, and, in this context, is not simply a passive repository of past events but an active, living archive that holds the potential to interrogate and illuminate pressing contemporary issues. Memory can be both a personal and collective resource, capable of bridging the past and the present, the individual and the communal. 

​

Archiving in its literal and tangible sense was also considered, particularly relating to how digital work is stored or collected, and the rapid advancements in technology. Certain means of documenting, once seen as the most effective or ‘indestructible’ solutions, have become obsolete over the years, and some artists now harness these methods or media as ways of capturing, reflecting, and commenting on particular moments that speak to our ever-changing cultures and societies.

​

The intersection of memory and climate change was another critical area of focus. As the world grapples with the accelerating impacts of environmental degradation, memory serves as a reminder of both the natural world that once was and the urgency of the actions needed to preserve what remains. By archiving artistic encounters with the past and present states of our ecosystems, memory can help mobilise communities and policymakers toward more sustainable practices.

​

Spirituality, Indigenous Rituals, and the Metaphysical

​

Another thematic area foregrounded was the exploration of spirituality and indigenous rituals in relation to memory. Participants commented on the increasing visibility of works related to Afro-Caribbean spiritual practices and their presentation in art. They reflected on how different audiences might understand spiritual or ritualistic symbolism in art to varying degrees. The roundtable brought to light how these practices often serve as vessels for preserving and transmitting memory across generations. Indigenous and ancestral rituals, in particular, are deeply rooted in the land and the natural world, offering unique perspectives on the interconnectedness of all living things. Participants discussed how memory can transcend the physical realm, connecting individuals with ancestors, spiritual beings, and the cosmos.

​

Emphasis on Installation for Time-based Media

​

In terms of artistic mediums, the roundtable reached a consensus on the importance of installation of time-based media for this edition of TVE. These forms of art are particularly well-suited to exploring the themes of memory, trauma, climate change, and spirituality, as they allow for immersive, experiential encounters. Installations can create physical spaces that embody memory, inviting viewers to step into environments that evoke the past, present, and future simultaneously. They can capture the fluid, evolving nature of memory, using sound, video, and performance to convey the temporal aspects of recollection and forgetting. 

​

It was noted that artists in the region often have to compromise on the ideal presentation of their work, which can alter an audience’s understanding of a piece. Even in gallery settings, they can be limited by infrastructural restrictions or access to equipment. Finding ways to honour artistic visions and have open dialogue with the artists about possibilities for showing their work without compromising their intentions will be a key part of TVE’s final curation.