My mind is wandering! I think of the young university graduate desiring to further her studies at the master’s level in art, but unable to do so because of the costs of studying in a foreign land. Foreign is her only option because there is no scope for the aspiring artist to further train and develop skills in Guyana. UG is the pinnacle. So, an undergraduate degree is the final stop here.
There are no artist residencies to support independent pursuit and exploration. Instead, there are grants that are given to monetise specified (therefore, approved of) creative endeavour with stipulations of ambassadorial action on behalf of the donor. There are no scholarships to facilitate additional study and knowledge gains, not even in related and urgent areas.
I think of the other young university graduates desirous of studying art conservation. I think of the Guyana National Collection desperately in need of conservation specialists. My mind wanders to publicised collaborations with a foreign government to have particular works from the Collection undergo conservation. Those announcements occurred years ago but nothing has happened and the works on the list continue to need ‘technical rescue’. My artist friend who has a painting on the list bemoans the fact that the colours are badly faded. Indeed, the colours are dull compared to those of the similar era displayed in her home. My mind must wander as this is distressing!
My mind wanders to the scene of a recent conversation hosted for artists by an artist early one evening. It was an in-person event. I could not attend. The roads leading to my abode are bad – beyond pothole-ridden. It is a delicate manoeuvre by day driving on this street. I have reported it to the authorities but nothing is done. At night the road is desolate. Few venture to drive here at night. Often when they do, I hear the bottom of cars scraping the road because the driver did not navigate correctly. Fast moving or slow moving it does not matter!
I wonder what my artist colleagues said at the meeting about what is needed here. I note that the notice came with a clear indication that the discussion will focus on what is needed rather than the problems of the past. I wonder how possible it is that by talking about the “good days” a surge of jealousy may cause those who come in for criticism now to act. My mind wanders back to what has been on it lately – opportunities to study and train at the highest levels. Scholarships! But alas, that singular artist hosting that meeting is unlikely to be able to help.
My mind wanders to my own dilemma of wanting to do research on certain Guyanese artists and my inability to do so because their archives are in foreign lands. Donald C Locke’s archive at Emory University in Atlanta is a treasure trove of his writings about art, his letters to fellow artists, and more. Researchers from the UK have enjoyed access to it. I know this because I have listened to their presentations online. This researcher from Guyana, however, can only dream of winning Lotto Supa 6 because her efforts to meet the remaining costs after receiving a modest fellowship sum to complete a research residency in these archives were met with repeated and deafening silence from high offices. This researcher, like the young UG graduates, can only dream. Her dream is for a research residency at the Aubrey Williams Archive at Art360 Foundation in London and at Frank Bowling’s Archive also in London; its existence was announced by his son Ben Bowling as he concluded a conversation with curator Elena Crippa about his father’s work on September 19, 2023. I lament how much is known about these Guyanese giants outside of Guyana as opposed to in Guyana. I lament that our local researchers (few as we may be) are locked out of being able to delve into these archives because our meagre earnings translate to a negligible pittance elsewhere, so self-funding is not an option.
I try to make my mind wander. It is not easy. Two and a half years of failed letter-writing efforts to source funds to complete a research fellowship at the Locke archives weighs on me. Perhaps I should have gone to “De Oil People” – the foreigners – so I may do research in ‘foreign’ about my countrymen who have art historians talking and writing in scholarly fashion about Guyana and the art that has been informed by it. I went to our government. I went to a significant institution.
I try to make my mind wander. But now that I have pondered this distressing thing my mind cannot wander. I lament where we are and I wish that the often-talked-about man of my childhood were still around. Artists would be happy because he, from every account I have heard, thought we artists mattered. He sent artists off to train in Cuba, for instance. They returned and were able to make grand contributions. I wonder if our artist-colleague who often espouses the support of “de good days” spoke about this at the recent conversation among artists. My thoughts must wander. Distress is not good for the soul!
I shush my thoughts with the hope for inspiration and renewed optimism from visiting the current and upcoming artist-organised exhibitions – The Moving Circle of Artists exhibition at the National Gallery of Art, Castellani House which opened September 14 and will close on the 30th, and ‘Beyond the Brush’ hosted by FineArt.gy at the Guyana Marriott Hotel from September 29 – 30th. I hope we are all inspired.
Akima McPherson is a multimedia artist, art historian, and educator
