Barbados’ Akilah Watts and Anna Gibson won first and third place, respectively, in the first Mustique Caribbean Contemporary Art Show and Prize, which was held late last month. Trinbagonian painter Brian Ashing came in second.
The competition was created by renowned Venezuelan art collector, author, and philanthropist Tiqui Atencio Demirdjian to promote Caribbean art and boost its economic viability by giving local artists more possibilities. Its primary sponsors are Tiqui and Ago Demirdjian, and its organizer is Anjeni Ramtahal, an art dealer and curator from Trinidad.
On December 28, the first, second, and third awards were revealed in a ceremony held at the Mustique Community Center on Mustique Island, St. Vincent and the Grenadines, after a three-day display of the art of the 20 longlisted winners. At the gala event, Ashing and the other two nominated finalists had the chance to network with prominent art curators, collectors, and academics.
However, Ashing was in for another treat after winning his prize: he learned that legendary rock musician and competition judge Mick Jagger was very interested in buying one of his two entries, “Paradise of Scorched Earth.”
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Ashing excitedly shared the honor on social media stating, “It’s not often that I share things of this nature.” The post further noted, “but when a living legend and global icon acquires your work it’s news worth sharing. Thank you @mickjagger.”
“It’s humbling to be recognized in this capacity and in a room like that,” he noted, “a room that people may consider to be occupied by global tastemakers and household names,” emphasizing that it was a great chance to network. “[With this] celebrity recognition, hopefully, that increases the marketability of my work.”
A woman of African heritage, modeled after Genesia Mulrain, is shown in the mysterious work crouching among egrets in a field that is on fire, with dense smoke obscuring the sky behind her. The imagined lightness of these birds and the woman’s innocence contrast intriguingly with the foreboding sky and flaming terrain.
Ashing made it apparent that the setting, like the most of his nature paintings, was inspired by the surrounding area: “This tropical landscape…largely pulls from Trinidad’s East coast,” he explained.
He stated, “When I paint a landscape and a figure within the landscape, I’m making a statement of humans in relation to the land.” The landscape is “symbolic of the inner turmoil that’s happening within humans” in this instance, referring to the Caribbean’s past meeting its present, our inherited problems from a turbulent past, and the continuous effort to undo, unlearn, repair, and overcome these centuries-old problems.
According to Ashing, another aspect of the work conveys the idea of escape, the “idea of wanting to leave where you’re from,” and a feeling of being “earthbound,” which many young Caribbean people may have when faced with a lot of uncertainty. According to the artist, this condition also signifies that the younger generations have realized their need to “deal with the fallout of the past.” “We’re making the most of what we have.”
An intriguing component in the work is the egret, which is essentially innocuous and frequently observed in surrounding settings. As Ashing put it, “Egrets can…be opportunistic.” He added, “You often see egrets in droves when the land is cleared; it’s easier to find the prey.” This is done on purpose to make it unclear if the lady is being protected by the animals or whether she will become their victim as well.
The woman’s resilience—or lack thereof—will determine whether she is overcome by her harsh circumstances or succeeds despite them. Ashing concluded, “I suppose we find [her] before she makes the most of things.”
Given the violent setting, unquenchable flames, and the subject’s race, the artist claimed that some viewers described the picture as inspiring sentiments of an “ongoing revolt.” He believed that this interpretation was legitimate and pertinent.
Mostly self-taught, Ashing traveled to Italy in 2023 to participate in a class organized by Troy Argyros, a graduate of Florence Art Academy, at Art Studio 10. This was his first professional instruction since he started exhibiting in 2016.
In addition to painting, Ashing co-curates the LOFTT Gallery with Dale Ramirez, the gallery’s owner and business partner. He claims that this position “offers a nice respite from myself” and from the regularity and discipline that comes with creative labor.
Though it’s not its exclusive emphasis, the gallery “definitely has a focus on emerging artists,” he added, adding, “I’m really passionate about helping to create a platform that bolsters our local talent and creativity.”
In June, he and Ramirez will co-organize a show alongside Ashing and other Trinbagonian artists Aurora Honeywell and Bianca Peake as part of the gallery’s 2025 program.
Regarding the future of Caribbean art and the attention and interest it might garner on the global market, Ashing voiced hope.
He stated, “Caribbean artists have a growing spotlight on them.” He added, “This show was a great example of this and hopefully broadens that spotlight as well as the perspective of international collectors and practitioners.”
Ashing encouraged his fellow artists to continue practicing their craft and to view the chance to add to the regional body of work as both a “privilege” and a “responsibility,” implying that Caribbean artists have a distinct voice because of their distinct historical and cultural heritage. Additionally, he emphasized the intrinsic worth of Caribbean art and urged artists to keep it in mind.
“We exist globally and we must treat our art as such,” he stated. “If we respect our talents as artists and as a general public, greater opportunities will follow.”
Ashing is more driven than ever and doesn’t see himself slowing down anytime soon, especially after the historic sale and the sense of success that comes with having one of his originals in an iconic collection. The agenda, he stated, is “more work.” He chuckled, “Work begets work.”
