April 30, 2001 — "It reminds me of the representation of a cultural memory, a cultural reclamation of Africa," a leading art scholar commented of the exhibition of works by Virgin Islands artists mounted in the Grand Galleria commercial complex in connection with an international gathering of African studies professionals on St. Thomas.
The speaker, Prof. Onyile Onyile, a Nigerian doctorial candidate in art history, also said he found the colors and diversity of influences in the works impressive.
Onyile was among 200 arts educators, historians and exhibitors who viewed the works by 18 V.I. artists, collectively titled "Africa In The HeART of the Virgin Islands," at a reception Thursday evening.
"I'm elated that it was possible," participating St. Croix artist Maud Pierre-Charles said with a smile. "It's a beginning for the community that goes beyond limited commercial themes. What is represented here is in a much broader context than the tourists market allows. The University of the Virgin Islands made this possible, and it is that kind of continued encouragement we need."
The exhibition was mounted in conjunction with the 12th triennial Symposium on African and Caribbean Art held on St. Thomas last week by the Arts Council of the African Studies Association. It was sponsored by UVI in cooperation with North Carolina's Agricultural & Technical State University, where the works will go on display next fall, and curated by Shira Sofer, a part-time art instructor at UVI. The V.I. Cultural Heritage Institute was a co-sponsor.
Prof. Vandorn Hinniait, curator of the Mattye Reed African Heritage Center, where the exhibition will be mounted at North Carolina A&T, said he exhibition impressed him as work influenced by forces not necessarily limited to a Virgin Islands or Caribbean experience. "I also see the artists as speaking from very personal experiences," he said.
Andrea Frolime, a graduate student in art history at the State University of New York, said she could "recognize a lot of African shapes that may be considered to have their origins in ritual."
A case in point: St. Croix artist Roy Lawaetz's piece "The Modular Triangle System" was constructed exclusively of triangular shapes. "The shape was used by the early Taino Indians in their stonework," Lawaetz noted. Also, he added, "It's essential to the Christian concept of the Trinity, and it's crucial to the historical triangular African slave trade."
Bernard Fauntelroy, visiting from Virginia, said the works together constituted a good representation of how African culture has survived.
To Daphne Pea, an artist visiting from California's San Francisco Bay Area, the exhibition was "very inspirational, very powerful … It makes you think." She said Virgin Islanders should be proud, adding that there is no such art exhibition by people of color in the Bay Area.
Myron Jackson, the V.I. government's director of historic preservation and one of the exhibition organizers, said the result "lends credence for the continuance of having such venues to showcase the fine art talents of Virgin Islanders." Surveying the spacious display area, Jackson, an artist himself, pronounced it "perfect for such an art exhibit."
He expressed appreciation to Lockhart Management for making the onetime ballroom of the old Grand Hotel available without cost for the show. "Hopefully, the efforts shown here will assist in educating public officials of the need for establishing such venues," he added.
The exhibition, which had been open to public viewing from April 7, closed with the Thursday evening reception. In North Carolina, it will be displayed from Sept. 16 through Jan.10, 2002.
