This is a project that wasn’t realized.
It sat in the walls of the museum for weeks before it found its home elsewhere.
It was uncomfortable in space.
It was the one of many orphaned to the institution, yet it is still sounding,
resounding.
A warning and a battle cry.
Bodies are no longer held in check, here they run...they make noise and are unafraid.

In her solo exhibition ‘...there are always two deaths’ Tessa Whitehead speaks towards the landscape, violence, cycles of life and the inner workings of nature in conjunction with the sacred feminine. This writing takes us into her world of myth, magic, family trees, secrets and transformations.

In a place like The Bahamas—and the wider Caribbean—the omnipresent cultural amnesia connected to slavery lingers and permeates the very essence of how we come to know ourselves. In this essay, I write about Scottish artist Graham Fagen’s ‘The Slave’s Lament’ and the counter-discourse amongst postcolonial Bahamian artists and thinkers who contest, poetise and extend charged narratives in multifocal and dynamic ways.

‘Traversing the Picturesque: For Sentimental Value’ is a historical survey that includes works produced from 1856-1960 by visiting artists and expatriates to The Bahamas, who were inspired by the then colony’s landscapes, people, luminescence, coastlines, seas and bustling lifestyles. In this overview, I detail how the birth and development of colonialist imagery continues to have a long-standing and far-reaching impact on the global continuation of the iconographic status of The Bahamas as a haven, a place of respite and paradise.