Cheery Stewart-Josephs
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Tranquility in Carnival
Acrylic, 24 x 42 in., 2013, $2,500
Acrylic, 24 x 42 in., 2013, $2,500
Between each Beat of the Drum and color Flash Soul Sing
The Dancing Qween swirls into the silence from which Joy Springs and that we call
Tranquility in Carnival.od Himself.
About The Artist
Artist Statement
My Carnival Art offers the viewer a dynamic tool for self-expression and exploration. The art depicts a celebration of life. In looking at my Carnival Art pieces noted below, we somehow think of ourselves, while it helps us to accept and understand others. In these pieces: -Carnival in Motion -Tranquility in Carnival -Face of a Dreamer -Music on the Go I created what I believe to be that something that began hundreds of years ago with Catholics in Italy who held annual costume festivals just before Lent. They were not allowed to eat meat during Lent, so they called the festival "carnevale", meaning, put away the meat. The practice spread to other European countries - France and Spain. The custom spread to other parts of the world. Caribbean Carnival, however, represents Ancient African traditions, which include parading and moving in circles through villages in costumes and masks. The tradition was brought to the Caribbean by the early 19th century when over six million slaves were brought there between 1836 and 1917. Some were indentured workers from Europe, West and central Africa, Southern China and India as laborers. The dancing and circling in the African tradition in costumes and masks were believed to bring good fortune, to heal problems and chill out angry relatives who had died and passed on to the next world.
The Caribbean Carnival - like the African festival, borrows from the African of putting together natural objects (bones, grasses, beads, shells and fabric) to create a piece of sculpture, a mask or a costume - combined to represent a certain idea or spiritual force. Feathers in the mask or headdresses symbolizes our ability as humans to rise above problems, pains, heartbreaks, illnesses, to travel to another world and be reborn and to grow spiritually. African drums for setting the rhythms and large puppets, stick fighters and stilt dancers began to make appearances in the carnival festivities. The idea took root in Brazil, a Portuguese colony and in Louisiana where it is called Mardi Gras. This one represents a mix of African Americans with the French settlers and Native Americans. Carnivals are celebrated anywhere descendants of African people are settled: Jamaica, Grenada, Dominica, Haiti, Cuba, St. Thomas and St. Marten, Central and South America, Belize, Panama and even in Canada and on Eastern Parkway in Brooklyn where Caribbean people have settled. Miami, Toronto and even San Francisco celebrate carnival. Carnival is also a way to express individual power, creativity. It serves as a minor, reflecting the faces of the many immigrants from all over the globe. In some Caribbean countries, the event is sponsored by schools to teach young people about their roots and cultures. It is a way for the communities to work together to develop stronger friendships and greater respect for the many cultures that make up the whole.
Bio
Cheery Stewart-Josephs has been a professional painter since 1983 when she exploded on the Caribbean art scene with her dramatic, unique style and her vibrant depiction of Jamaican life. Born in the cool hills of Manchester, Jamaica, she developed a love and fascination for the lush Jamaican landscape; and from as early as she can remember, was drawing and painting that landscape. This early love of art and innate talent was nurtured and cultivated during her high school years. After high school, she continued to hone her skills, with her love of the Jamaican countryside finding expression in the form of landscape paintings. Stewart-Josephs' began her professional artistic journey when she was introduced to the all-male Trafalgar Artist Cooperative based in Kingston Jamaican. This was a group of talented, roadside, self-taught artists, operating outside of the gallery system in Jamaica. She was accepted as a member of this group, and her natural but underdeveloped talent was nurtured under the guidance of the more experienced members of the cooperative. This was group of very vibrant, highly exhibition opportunities outside of Jamaica.
So, as part of this collective, Cheery Stewart-Josephs' works was frequently exhibited at venues across Canada and the USA. Stewart-Josephs continues to pay homage to this band of artists and consistently acknowledges the impact they had on her artistic development; she still draws on the guidance and invaluable lessons learned from them. Another major influence on Stewart-Josephs' artistic development came in 1987 when she met Webster Campbell, a well-known artist who recognized her talent and encouraged her to elevate her techniques. He embraced her and under his mentor ship she blossomed. In addition to the influence of the Trafalgar artists and Campbell, Stewart's talent was honed by studies at the Edna Manley School of Art where she sharpened her technique and found greater understanding of form, texture and use of color. Stewart-Josephs migrated to the US in 1990 and for a few years, moved away from artistic pursuits as she focused on family.
During this time, collectors and lovers of her art encouraged her to return to painting. Among them, was the then Consul General of Jamaica to New York, Kaye Baxter-Collins, OD. who offered her an exhibition at the Jamaica Consulate in New York. Duly inspired, Stewart returned to painting with a passion and had her first solo exhibition in New York in 1992; an exhibition that was greeted with rave press and collector reviews. While she became known for her vibrant depictions of the Jamaican landscape and her innate sense of expression, living in the US, Stewart has been exposed to a wide range of contemporary influences, resulting in the evolution of her art. At one time her portfolio was limited to landscapes, today if you look at her body of work, its diversity of media and techniques is impressive. One viewing her portfolio for the first time might think that the works presented are the creations of several artists but this body of work is the creation of one person-a person who is continually exploring new techniques and subjects and striving to improve the quality of her work.
She continues to paint primarily in acrylics on canvas but her subject matter has expanded to florals, still lifes, peoples and rituals. In what is the most profound departure from her foundation, is Stewart's exploration of abstraction. Her decision to experiment with abstraction was partly motivated by her husband Hugh Josephs, an abstract painter, who encouraged her to stretch and challenge her creative force. Stewart-Josephs has created a body of abstract paintings which are passionately and emotionally charged but are still influenced by her Jamaican upbringing and love of Jamaican life and culture. For example, one of her abstract series are multi-media collages using the bandana print, a fabric that has significant uses and meanings in creole and folk culture throughout the Caribbean. Her other abstract works are influenced by the colors, the emotions, passion, beauty, richness, struggles and resilience of her tropical homeland and its culture.
Throughout her growth, explorations and development, an important element in all of Stewart-Josephs' work is her strong belief that her ideas and creativity are gifts from God. When asked about her inspiration she responds: "Why do I paint? I see God's love and power in my life and the lives of those around me. I see God's masterful work in the landscape, in the flowers, in the plants, in the mountains. I visualize God's love and connect with it in nature and life; that is what inspires me to paint." Stewart-Josephs' solo and group exhibitions include showings at the Jamaican Consulate General in NewYork, the Embassy of Jamaica in Washington DC, the Manhattan Borough President's Office, New York Empire State Development Corp., Tropical Carnival in Holland, the Jamaica Tourist Board's booth at the TD Bank Five Boro Bike Tour, New York City and Art off the Main: African Caribbean & Latin American Art Fair, New York, the Jamaican Consulate General in Miami, the Jamaican Consulate, Toronto, Canada. Her media credits include, the Jamaican Gleaner, the Jamaican Weekly Gleaner, the Amsterdam News, New York Carib News, New York Daily News, Jamaican Observer and Class magazine. Stewart-Josephs' paintings and limited edition prints are part of numerous commercial and private collections throughout Jamaica, North America and Europe. Ms. Stewart-Josephs has received several honors, the most recent being the Union of Jamaica Alumni Association (UJAA) 25th Anniversary Award for Personal Achievement.
My Carnival Art offers the viewer a dynamic tool for self-expression and exploration. The art depicts a celebration of life. In looking at my Carnival Art pieces noted below, we somehow think of ourselves, while it helps us to accept and understand others. In these pieces: -Carnival in Motion -Tranquility in Carnival -Face of a Dreamer -Music on the Go I created what I believe to be that something that began hundreds of years ago with Catholics in Italy who held annual costume festivals just before Lent. They were not allowed to eat meat during Lent, so they called the festival "carnevale", meaning, put away the meat. The practice spread to other European countries - France and Spain. The custom spread to other parts of the world. Caribbean Carnival, however, represents Ancient African traditions, which include parading and moving in circles through villages in costumes and masks. The tradition was brought to the Caribbean by the early 19th century when over six million slaves were brought there between 1836 and 1917. Some were indentured workers from Europe, West and central Africa, Southern China and India as laborers. The dancing and circling in the African tradition in costumes and masks were believed to bring good fortune, to heal problems and chill out angry relatives who had died and passed on to the next world.
The Caribbean Carnival - like the African festival, borrows from the African of putting together natural objects (bones, grasses, beads, shells and fabric) to create a piece of sculpture, a mask or a costume - combined to represent a certain idea or spiritual force. Feathers in the mask or headdresses symbolizes our ability as humans to rise above problems, pains, heartbreaks, illnesses, to travel to another world and be reborn and to grow spiritually. African drums for setting the rhythms and large puppets, stick fighters and stilt dancers began to make appearances in the carnival festivities. The idea took root in Brazil, a Portuguese colony and in Louisiana where it is called Mardi Gras. This one represents a mix of African Americans with the French settlers and Native Americans. Carnivals are celebrated anywhere descendants of African people are settled: Jamaica, Grenada, Dominica, Haiti, Cuba, St. Thomas and St. Marten, Central and South America, Belize, Panama and even in Canada and on Eastern Parkway in Brooklyn where Caribbean people have settled. Miami, Toronto and even San Francisco celebrate carnival. Carnival is also a way to express individual power, creativity. It serves as a minor, reflecting the faces of the many immigrants from all over the globe. In some Caribbean countries, the event is sponsored by schools to teach young people about their roots and cultures. It is a way for the communities to work together to develop stronger friendships and greater respect for the many cultures that make up the whole.
Bio
Cheery Stewart-Josephs has been a professional painter since 1983 when she exploded on the Caribbean art scene with her dramatic, unique style and her vibrant depiction of Jamaican life. Born in the cool hills of Manchester, Jamaica, she developed a love and fascination for the lush Jamaican landscape; and from as early as she can remember, was drawing and painting that landscape. This early love of art and innate talent was nurtured and cultivated during her high school years. After high school, she continued to hone her skills, with her love of the Jamaican countryside finding expression in the form of landscape paintings. Stewart-Josephs' began her professional artistic journey when she was introduced to the all-male Trafalgar Artist Cooperative based in Kingston Jamaican. This was a group of talented, roadside, self-taught artists, operating outside of the gallery system in Jamaica. She was accepted as a member of this group, and her natural but underdeveloped talent was nurtured under the guidance of the more experienced members of the cooperative. This was group of very vibrant, highly exhibition opportunities outside of Jamaica.
So, as part of this collective, Cheery Stewart-Josephs' works was frequently exhibited at venues across Canada and the USA. Stewart-Josephs continues to pay homage to this band of artists and consistently acknowledges the impact they had on her artistic development; she still draws on the guidance and invaluable lessons learned from them. Another major influence on Stewart-Josephs' artistic development came in 1987 when she met Webster Campbell, a well-known artist who recognized her talent and encouraged her to elevate her techniques. He embraced her and under his mentor ship she blossomed. In addition to the influence of the Trafalgar artists and Campbell, Stewart's talent was honed by studies at the Edna Manley School of Art where she sharpened her technique and found greater understanding of form, texture and use of color. Stewart-Josephs migrated to the US in 1990 and for a few years, moved away from artistic pursuits as she focused on family.
During this time, collectors and lovers of her art encouraged her to return to painting. Among them, was the then Consul General of Jamaica to New York, Kaye Baxter-Collins, OD. who offered her an exhibition at the Jamaica Consulate in New York. Duly inspired, Stewart returned to painting with a passion and had her first solo exhibition in New York in 1992; an exhibition that was greeted with rave press and collector reviews. While she became known for her vibrant depictions of the Jamaican landscape and her innate sense of expression, living in the US, Stewart has been exposed to a wide range of contemporary influences, resulting in the evolution of her art. At one time her portfolio was limited to landscapes, today if you look at her body of work, its diversity of media and techniques is impressive. One viewing her portfolio for the first time might think that the works presented are the creations of several artists but this body of work is the creation of one person-a person who is continually exploring new techniques and subjects and striving to improve the quality of her work.
She continues to paint primarily in acrylics on canvas but her subject matter has expanded to florals, still lifes, peoples and rituals. In what is the most profound departure from her foundation, is Stewart's exploration of abstraction. Her decision to experiment with abstraction was partly motivated by her husband Hugh Josephs, an abstract painter, who encouraged her to stretch and challenge her creative force. Stewart-Josephs has created a body of abstract paintings which are passionately and emotionally charged but are still influenced by her Jamaican upbringing and love of Jamaican life and culture. For example, one of her abstract series are multi-media collages using the bandana print, a fabric that has significant uses and meanings in creole and folk culture throughout the Caribbean. Her other abstract works are influenced by the colors, the emotions, passion, beauty, richness, struggles and resilience of her tropical homeland and its culture.
Throughout her growth, explorations and development, an important element in all of Stewart-Josephs' work is her strong belief that her ideas and creativity are gifts from God. When asked about her inspiration she responds: "Why do I paint? I see God's love and power in my life and the lives of those around me. I see God's masterful work in the landscape, in the flowers, in the plants, in the mountains. I visualize God's love and connect with it in nature and life; that is what inspires me to paint." Stewart-Josephs' solo and group exhibitions include showings at the Jamaican Consulate General in NewYork, the Embassy of Jamaica in Washington DC, the Manhattan Borough President's Office, New York Empire State Development Corp., Tropical Carnival in Holland, the Jamaica Tourist Board's booth at the TD Bank Five Boro Bike Tour, New York City and Art off the Main: African Caribbean & Latin American Art Fair, New York, the Jamaican Consulate General in Miami, the Jamaican Consulate, Toronto, Canada. Her media credits include, the Jamaican Gleaner, the Jamaican Weekly Gleaner, the Amsterdam News, New York Carib News, New York Daily News, Jamaican Observer and Class magazine. Stewart-Josephs' paintings and limited edition prints are part of numerous commercial and private collections throughout Jamaica, North America and Europe. Ms. Stewart-Josephs has received several honors, the most recent being the Union of Jamaica Alumni Association (UJAA) 25th Anniversary Award for Personal Achievement.
