“Hapy Mothey Day” (1993)
From us, from Amos Ferguson, and from this lovely work made in 1993 in the collection of Jane Siebels.
For Mothers Everywhere
“Sukling” (c2000), Maxwell Taylor, woodcut print on paper, 36 x 48 inches. Part of the National Collection of The Bahamas.
From the Magical mothers
“Crawfish Woman” (2000), Wellington Bridgewater, concrete, 108 x 60 inches. Part of the National Collection of The Bahamas.
“The “Crawfish Lady” (c2000) is holding a child, and though her multiple legs, and spiny articulated tail may be disconcerting, she has a softness to her face as she looks down at them. As Ashley Knowles, former Assistant Curator at the NAGB, noted in her own musings on the work, his monster-madonna is reminiscent of the most iconic images of mother and child - Mary and the baby Jesus. Blasphemy to some, playful reimaginings to another, the work shifts from formidable crustacean with child fleeing her grasp to that of a mother cradling her writhing child in her arms. The usually spiny crawfish has their spikes softened when we consider them in relation to Bridgewater’s overall body of work.”
To the divine
“Untitled (Madonna and Child)” (1999), Rembrandt Taylor, acrylic on canvas, 50 1/2 x 36 inches. Part of the National Collection of The Bahamas.
“The image of Black Madonna is a symbol of strength, of representations of Blackness and acknowledgement, of embracing Black motherhood as sacred. This doesn’t only extend to Christianity, and we see in this depiction by Rembrandt Taylor embracing his Rastafarian groundings. Taylor’s Untitled (Madonna and Child) (1999) takes symbolism from the Black diaspora, and in a vibrant display gives us a celebratory image of the Virgin Mary and baby Jesus envisioned to look like the majority of the nation, Black and proud. Mary in this image seems just as comfortable with being Madonna as she does with being empress. The foundation of the Rastafari movement, while Abrahamic and making close use of the Christian bible, most importantly hinges on Afrocentrism and the empowerment of Black people the world over - so having Taylor render this most iconic image of the Virgin Mary (most often rendered as a white woman with dark hair) is a significant statement for the elevation of Black women in particular.”