Here is part 2 of my extended interview with poet and artist Jacqueline Bishop (you can read part 1 here):
VP: Your involvement in quilt making has broader implications for your work and some have used the term “patchwork aesthetic” to describe it. Could you explain this with some examples? And please tell us about your Conversations and Odes to the Mountains of Jamaica series.
JB: I think that at its best critics can help us as artists (writers and visual artists) to understand what our preoccupations are. In a sense no one will ever know my work as intimately as I do, because I after all make these works. But someone outside of myself might be able to see and point out something that I did not see. And so it was with Cheryl Sterling’s article on my work “Jacqueline Bishop Jamaica Views, Frames, Vistas and Images” (Wasafiri Issue no 81, Spring 2015). In her article Sterling talked about the “…remnant, piecework, multiple frames, texts and images” in my work and suddenly I started to see the patchwork aesthetic in my photographs and paintings.
In four untitled quilts that I made recently, one for my great grandmother, one for my grandmother, one for my mother, and one for myself, you can see not only the familial dialogue at work in these quilts but the patchwork and piecing aesthetic that I am pulling directly from my great grandmother and my grandmother. This work arises from another body of work, “Odes to the Mountains of Jamaica,” in which I focused on the landscape of my troubled but beloved homeland of Jamaica. The untitled quilts are paying homage to the women in my life who gave me the skills and the sensibility that I now have as both a writer and a visual artist.
The colours used in the untitled quilts are deliberate. I started the group out with the small dark woman, my great grandmother, described by many as fiery, and who was not a woman to be joked with at all. She was fierce and fiercely protective and loving of her children, grandchildren and great grandchildren, all of whom she considered her blessings in life. The overwhelming red colour used in the quilt is a reference to her fiery disposition. But because of how she physically looked and because we are from Portland and not far from Moore Town there were always whispers that my great grandmother and her people were Maroons, and that too plays into the colour used in her quilt. If you look closely you will see that the centre of all the untitled quilts have a central image that I collage in Photoshop and had printed onto fabric and used in the quilts. In the image of my great-grandmother, she has a map of the Caribbean collaged with her face to indicate the central position of power of women in Caribbean societies.Read More »