Essays exploring the work of 16 artists through the lens of ecohorror, revealing how environmental dread and ecological crisis shape contemporary artistic practices
A Small Remainder of Teeth Digital Catalogue
All posts tagged: Sonia Farmer
National Exhibition 11 Catalogue
21 contemporary Bahamian artists envision futures beyond colonial inheritance, examining visibility, absence, and transformation.
The Hole in the Ocean: Artist Talk with Sonia Farmer
Sonia Farmer dives into an overlooked environmental atrocity: the 1923 removal of 40 tonnes of coral from the Andros Great Barrier Reef.
Blank Canvas with Sonia Farmer, Yasmin Glinton Poitier, John Cox
On today’s Blank Canvas, the show on which we discuss visual culture and creative community, your Guest host Katrina Cartwright is joined in the studio by “Mercy” artists Sonia Farmer and Yasmin Glinton Poitier and curator John Cox, as they delve into this complex and thought-provoking theme and share tidbits on the show which opens October 6th, 2022.
Blank Canvas with Marielle Barrow and Sonia Farmer
On “NAGB’s Blank Canvas” , we meet Marielle Barrow, scholar and organiser of the Visual Arts Biennial for the Caribbean Development Bank, and Sonia Farmer, one of the Bahamian finalists and winner of one of three $5,000 grants.
Blank Canvas with Dr Amatoritsero Ede, Shivanee Ramlochan and Sonia Farmer
On today’s Blank Canvas, guest host Dr. Craig Smith is joined by UB english professor and poet Dr. Amatoritsero Ede, acclaimed Trinidadian poet Shivanee Ramlochan and Bahamian artist and poet Sonia Farmer. They discuss the upcoming third annual Blue Flamingo Literary Festival (BFLF) in partnership with the NAGB, which will be held at The University of The Bahamas March 21-23, 2019.
Grave Silence: Sonia Farmer and Shivanee Ramlochan Give Voice to Victims of Rape in The Caribbean
By Natalie Willis. The issue of rape, and subsequently its deafening silence, is a shocking social disservice in this country, and it is something we should be using our voices to ask many, many questions about. With a failed gender equality referendum, and marital rape still being legal, it is hardly surprising that the statistics for sexual assault in The Bahamas continue to rise. Read between the lines of the statistics and there’s still not enough room for the 60%+ unreported sexual assaults, let alone the “pick-up” lines (see: street harassment) that feeds into gender-based violence. The statistics for the rape of men are even less likely to show the severity of the situation. The sexual violence against women, children, and men, in addition to the commonplace armed robbery and assault, we are left with a labyrinth of heartache and bloodshed that is difficult to find our way out of.
Blank Canvas with Charlotte Henay and Sonia Farmer
In this week’s episode of the NAGB’s Blank Canvas, we embrace literary culture in the Caribbean and in the Ninth National Exhibition or “NE9: The Fruit & The Seed” by welcoming Bahamian poets Sonia Farmer and Charlotte Henay to the show.
From the Collection: “Cycle of Abuse” (2017) by Sonia Farmer
By Natalie Willis. How does a referendum asking for men and women to be able to both gain rights in passing on citizenship, visibly backed by the government, still manage to fail? And what do we do in the aftermath? Sonia Farmer’s “Cycle of Abuse” (2017) is a paper work, but it is also time based, and the language employed is more than an exclamation, it is social commentary. She declares her status as a Bahamian citizen via text, and as a cisgendered woman she declares her womanhood through the monthly marking of blood upon these ballots. The blood represents not just her femininity and the rights denied her as a Bahamian woman, but also as a symbol of the various ways that violence is continued against women in this country.
A De-colonial Soundclash: The cacophonous chorus of the post-colony marks the end of “We Suffer To Remain”
For the closing event and finissage of the exhibition “We Suffer To Remain” -Sunday, July 29th–we are left to critically, crucially, question the work of language. “I suffer to remain, Saint of a wild mad Land”. The Caribbean has transitioned from this “wild, mad land” of disease and mystery into the tropical Eden we ubiquitously see in media today. But just what makes this place what it is? Who suffers to remain, and who are the saints and sinners? Sometimes it is easy to get lost in the cacophony of voices in the history of this region. In a place suffering from the silencing of so many, it is harder still to discern what voices are speaking – be they loud, soft, deafening, or a whisper.