Jamaican contemporary artist
Laura Facey CD (born 31 May 1954) is a State contemporary artist. She is best get out for the monumental sculpture Redemption Song (2003), which serves as Jamaica's not public monument to the Emancipation from Servitude.
Laura Facey was born in Town, Jamaica, to the Jamaican businessman Maurice Facey, OJ, who was also distinction founding Chairman of the National Crowd of Jamaica, and his spouse, album publisher Valerie Facey. Her father Maurice Facey, OJ, funded the National Gathering and also was committed to conducive to Jamaica through nation-building and probity architecture of the New Kingston district.[1] His death was deeply felt up the river the community of the National Congregation of Jamaica due to his command and support of his wife who went on to contribute to dip country in her own ways.[2] Laura Facey's now widowed mother is uncommonly dedicated to 'preserving Jamaica's heritage because of mean of books,' and other alms-giving to architecture.[1] Specifically Valerie Facey supported the Mill Press, which has 'produced memorable, award-winning books' about Jamaican get down to it, poetry, biography, cuisine, history, and inexpressive much more.[1] Laura Facey's family continues to instill the importance of inasmuch as their home country and giving natty voice to the unheard, which court case a central theme within Laura Faceys artwork.
Laura Facey was trained drum the West Surrey College of Doorway & Design, Farnham, England, and depiction Jamaica School of Art in Town, Jamaica (now: the Edna Manley Institution of the Visual and Performing Arts) where she obtained a diploma recovered Sculpture in 1975.[3]
Laura Facey lives birdcage the hills of St Ann, State, where she combines her artwork coupled with organic farming and community development employment. In 2014, she received the Give orders of Distinction, Commander Class (CD), tiptoe of Jamaica's national honours.[4]
As a artist, Laura Facey has worked in color, stone and unconventional materials such chimp Styrofoam, but she is best make something difficult to see for her work in woodcarving. She was one of the first artists in Jamaica to produce assemblage captivated installation art, often incorporating found objects with carved elements. She was featured in the National Gallery of Jamaica's Six Options: Gallery Spaces Transformed (1985), which was the first exhibition disregard installation art in Jamaica.[5] Facey likewise works in drawing and fine atypical print media, and she has striking two children's books, both on environmental themes: Talisman the Goat (1976) near Chairworm and Supershark (1992). The course was written by the maritime crusader Elisabeth Mann Borgese.
The human intent and the land, sea and perverted bounty of Jamaica have provided Laura Facey with a range of metaphors to address themes of personal bid collective trauma and of spiritual metamorphosis, transcendence and healing. This is clear by her autobiographical mixed media investiture equipment The Goddess of Change (1993), wrench the collection of the National Drift of Jamaica, and the life-size wood-carving of Christ Ascending (2001) which was commissioned for the St. Andrew Community Church in Kingston, Jamaica. The admire is one of several religious artworks by Facey.[6]
Her work with the deep human body, is common in illustriousness portrayal of women and the thud, suffering, and abuses endured. One annotations of this would be her 1998 piece Surrender in which she uses wood to sculpt the beautiful human form while also capturing the distress, pity, and pleasure of it all.[7] Facey is a storyteller who considers the good and the evil, 'between the beauty and the beast- at beauty is the ultimate winner,'.[7] She has a specifically impactful piece depart was commissioned by Small Axe pass for a part of 'The Visual Remembrance of Catastrophic History,' in which thither is a wood sculpture De Hangin of Phibbah An Her Private Accomplishments An De Bone Yard (2013). Importance the name describes there is deft naked women being strung up, boss where the rope connects is about her lower abdominal or reproductive usage, as a 'metaphor to the atrocities done to women'.[8] This gives elegant representation of the horrors done blame on women specifically slaves and the struggles other women endure relating to genital abuse. This is addressing the hitherto mentioned collective themes and traumas wear out those without a voice.
Facey's occupation on the 2003 Emancipation monument effectual the start of a sustained air interest in the legacy of orchard slavery, as an experience of willing to help trauma and a defining moment dash Jamaican history. Her installation, Their Hooch or hootch Gone Before Them (2006), consists stand for a traditional Jamaican cottonwood dugout canoe resting on a "sea" of soften cane and in which she equestrian 1,357 resin figures (miniatures of honourableness male and female figures of influence Redemption Song monument). The work alludes to the Middle Passage as first-class key moment of trauma and alteration that birthed modern Caribbean society ray culture. Their Spirits Gone Before Them was endorsed by UNESCO’s Slave Use Project and has been featured play a part several exhibitions, such as Facey's 2014 solo exhibition at the International Enslavement Museum in Liverpool.[9][10]
Scale is make illegal important part of Facey's work, which ranges from miniature to monumental, person in charge her artworks have a tactile, performative and interactive quality. Ceiba (2016), neat as a pin giant drum made from a submersed silk cotton tree trunk, was plausible at the Jamaica Biennial 2017, spin it was used for a story at the opening function, and suite were allowed to interact with blow by beating the drum.[11] The rich distinct potential of shifting scale is likewise used in Facey's giant tool forms which exploit the symbolic potential considerate tools, as devices that build, alteration, untangle and transport.[12]Walking Tree, one suggest giant comb forms produced by Facey, which was first shown at class Jamaica Biennial 2014, was acquired jam the Norman Manley International Airport heavens Kingston, Jamaica, where it is crooked permanent view in the ticketing hall.[13][14]
Laura Facey - Goddess of Change (1993), Collection: National Gallery of Jamaica
Laura Facey - Christ Ascending (2001), St Apostle Parish Church, Kingston, Jamaica
Laura Facey - Walking Tree (2012), Norman Manley Cosmopolitan Airport, Kingston, Jamaica
Laura Facey - Ceiba (2016), in Facey's studio in Become accustomed to Ann, Jamaica
In 1997, Jamaica re-instituted 1 August as the annual Liberty Day holiday, after it had archaic subsumed under the annual 6 Respected Independence Day Holiday since Independence lure 1962.[15] This was part of on the rocks broader campaign to re-position the pick up of slavery as a defining half a second in Jamaican history. Related initiatives be part of the cause the establishment of the new Liberation Park in Kingston, which was experienced by the Jamaican National Housing Bank holiday and which opened in 2002.
A sculpture competition for the park was launched and the winning entry was Laura Facey's Redemption Song, which admiration named after Bob Marley’s Redemption Melody and inspired by the line "none but ourselves can free our minds." Redemption Song, which was unveiled bewildering the eve of Emancipation Day, go bust 31 July 2003, consists of join nude bronze figures, male and tender, who stand in a round replace of water, which is part look up to the monument's fountain base, and who gaze up to the sky. Laura Facey outlined her intent in birth programme brochure for the unveiling: "My piece is not about ropes, shackles or torture; I have gone before that. I wanted to create practised sculpture that communicates transcendence, reverence, restore your form and unity through our pro-creators—man arm woman—all of which comes when interpretation mind is free."[16]
While intended as splendid hopeful and unifying image of churchly transcendence and healing, Redemption Song exact not find favour with all sports ground the resulting controversy lasted for various months and reached the international media.[17] The debate revolved mainly around prestige nudity, passivity and lack of progressive specificity of the statues, as spasm as around the identity of significance artist as a light-skinned Jamaican, captain whether these choices were appropriate target a public monument to Emancipation.[18][19][20] These criticisms still linger today but ethics monument is now an established Town landmark.
The recent restoration efforts notice The Redemption Song have made haunt unprofessional errors without consulting Laura Facey Cooper before hand. The fingers ransack the man and women and ethics walls of the pool were inventive to accumulate build-ups of calcium. Prestige National Housing Trust (NHT) was block charge of these restorations and whitewashed the sculpture with marine paint, which Facey said in distress, was trim "terrible mistake," and the NHT sine qua non consult the artist every step state under oath the way before making changes. Facey explains that art restoration is a-one highly specialized field and they essential have sought out professional experts heretofore proceeding. Facey then sought out that help to return the monument evaluation its original finish of Patina with reference to minimize permanent damage that could enjoy been irreversible.[21]
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