You can’t steal creativity.

It has been a few months since reporting Sea Lungs as stolen and I wanted to put an update out there before moving on. I appreciate the outpouring of support and concern regarding the state of the 8 pieces in the installation. I have had many one on one conversations about the work having been stolen and I’d like to put these conversations to rest. I can confirm that Omar Yehia Donia took my artwork out of malice and I don’t have hope of seeing the work again. As I stated in the past article Donia had the motive, means, and opportunity to take the work and in a world that relies on trust and professionalism he demonstrated not only malice but reckless disregard for the artists in the Grenada National Pavilion.

Omar Donia, who is the founder of Contemporary Practices Art Journal, also recently contributed Middle Eastern artwork to the United Nation’s World Food Program via Christie’s Dubai, for which, unfortunately I skimmed to make sure my work was not being ‘donated’ in that lot.

Being careful not to disclose more information than is prudent or can be objectively verified, Omar Yehia Donia has been identified and reported to the Art Theft Unit of the Italian Police and the hope is that some sort of material justice can manifest.

In moving on – I realise that there are these sorts of people in any industry, in all corners of the world. I also realise that while he may have been able to take work of mine that took months to make and had a monetary value, he is unable to steal my ability to create. You can’t steal creativity. I will be working on recreating this series in an effort to 1.) nullify the value of the first series as it is in a contentious space for now and 2.) to reclaim the essence of the work for myself but also Grenada art history. The fact is that Omar Yehia Donia tried to injure Grenada and myself as an artist but he has done far more damage to himself. I do not want my career to be defined as “the artist who had his work stolen in Venice”, Donia has done nothing to take away my ability or creativity. As a result of this experience, I am counting my losses and hoping that karma/justice comes around. Otherwise I am still making new work and I am looking forward to a long career of creating art! I am proudly living and working in Grenada where this work was conceived and produced and where I continue teaching and practicing my art!

 

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Review of New Work at the Waving Art Gallery

Asher Mains

Grenada Arts Council and Grenada Airport Authority have just opened the second exhibit for the year at the Waving Art Gallery at Maurice Bishop International Airport. “New Work” by John Henry, Kristianne Buxo, and Fred Grissom is a vibrant and encouraging expression of how these three artists are able to create a robust conversation with their work, despite their varying styles and techniques. John Henry, primarily a representational painter, rendered beautiful portraits and a seascape that transports sea mist and salt water into the gallery. Kristianne Buxo and Fred Grissom, a married couple that often collaborate, not only create visually striking non-representational work but also artwork that is a journey into their individual and collective psyches. Without looking at the labels, a viewer deciphers and decodes the individual components to each painting and the line between where one artist ends and the other begins can be a riddle. While these 3 artists may sound like they would not exhibit well together, part of the joy of the exhibit is noticing subtle similarities and points of convergence in the work. John Henry’s drips in his portraits, the polygons in Fred Grissom’s paintings and the reference to nature that all three artists make means you may have to take more than one lap around the gallery to fully appreciate how all the paintings work together.

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These three artists were brought together as part of a continued effort on the part of Grenada Arts Council and Grenada Airport Authority towards the development and promotion of art in Grenada. Asher Mains, who is volunteering to facilitate the rotating exhibits, says of Henry, Buxo, and Grissom, “One of the common threads with these three artists is that you can see in their work, when they finish a piece there is the question, ‘where can this go next?’. The other important common ground between them is that they are always working on their art despite having busy lives otherwise. This commitment to their art practice and always asking ‘What’s next?’ is what sets these artists apart and what makes a dynamic exhibit like this possible.” John Henry in his statement notes that it has really only been since 2014 that he has been giving serious attention to his art, yet his paintings have improved by leaps and bounds in such a short time. Fred Grissom is also showing a bench he constructed from scrap pieces of milled wood, a beautiful piece and a testament to the many abilities and talents artists accrue through their compulsion to create. Kristianne Buxo’s large scale painting, “Lilies and Lace” is just as much an ode to patience and persistence as it is a fresh look at ginger lilies and floral depictions. The white dots comprising the lace seem to hover and move on the canvas if looked at for too long and creates an atmospheric, mystical effect.

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The public are encouraged to view this exhibit while it is up for the 6 weeks. The Waving Art Gallery, located on the second floor of the Maurice Bishop International Airport, is open during airport hours, 6:00am to 10:00pm, 7 days a week. Visitors to the gallery are encouraged to credit the artist’s work if taking pictures and to use appropriate hashtags including #wavingartgallery, to help the social media presence of these artists and the gallery. The Waving Art Gallery can be liked on Facebook for updates on future shows and an archive of recent exhibits can be seen on the website at http://www.wavingartgallery.wordpress.com. Interested buyers are encouraged to contact the artists directly concerning sales. The contact info for the artists is posted at the gallery. Come by and see this exciting new exhibit and feel free to leave comments for the artists on the Waving Art Gallery Facebook page!

The artists extend a hearty appreciation to local sponsors who provided refreshments for the opening, Grenada Bottling Company, Independence Agencies and Bryden and Minors. Corporate support of the arts in Grenada goes a long ways towards the continued development and promotion of visual art.

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Update: Sea Lungs, Stolen

By Asher Mains

It’s not the way an artist expects to wrap up an exhibit, especially an exhibit on the world stage. It was with a heavy heart that I let out the initial information that my work, Sea Lungs, which was shown in the Grenada National Pavilion at the 57th Biennale di Venezia was missing. With more information and evidence secured I am sharing the unfortunate news that the installation, consisting of 8 paintings on sail cloth, was stolen. At this point, the suspect is not responding to communication, I do not have hope of recovering the work and so I feel that there is nothing to lose in telling my story about Sea Lungs being stolen from the Grenada National Pavilion in Venice.

For purposes of the ongoing investigation by the police in Italy, particularly the art theft unit of the Italian Police, I don’t think it is prudent yet to release his identity, although it shouldn’t be long until we should be able to. What I can relate are details as to how we know unequivocally that there was an individual involved who maliciously stole Sea Lungs. The suspect was someone who worked closely with the Grenada National Pavilion. It takes many people to have a successful exhibit at the Venice Biennale and it is impossible to know ahead of time who is working towards the betterment and development of art and who is working to forward their own agenda. We have made many contacts in Venice who have proved invaluable allies to Grenada and our art. Additionally, the Biennale organization and the guardians for the pavilion had been beyond helpful and cooperative and we are grateful for those in the art world who have been our allies.

This person however, is not an ally. Besides being difficult to work with and unprofessional, this person was someone who makes a good first impression and then quickly devolved into their own egomania. They made costly decisions without conferring with the other decision makers in the pavilion. This person also shirked their duties for much of the duration of the Biennale, being uncooperative and non-communicative. One of my last face to face interactions with this person showed me someone who was unhinged and I felt that an apology was in order. I never received an apology.

The final weeks of the Biennale saw the re-emergence of this person as they had work to do at the Pavilion. This was two weeks before the Biennale was closed and before my representatives were there to take down my work to send back to Grenada. During this time, still not communicating with me as an artist or representatives of the Pavilion he verbally accosted and intimidated our guardians and told numerous lies ranging from his title/position to the date the building was legally leased until. In a petty instance this person even took money that was set out for the lady who came into the Pavilion to clean. It is hard to determine whether this person was always planning on taking my work two weeks before the end of Biennale or if it was an afterthought – a spur of the moment decision like I am sure stealing the cleaning lady’s money was.

The irrefutable evidence came when this person intimidated our guardians and then changed the locks on the doors, ensuring that anything that happened from that point on was the sole liability of this person and their representatives. He had two people working on his behalf as the person in question then left Venice. These two people had to be contacted in order to collect the art work. Milton Williams’ work was deinstalled and these two people made it available to him. Jason De Caires Taylor’s work was to be packed by a person who I also gave authorisation to pack up my work. There were other representatives present and the professional who packed De Caire’s work is not a person of interest and in fact emailed the suspect 3 times asking where Sea Lungs was. No response. The people who worked on behalf of the suspect claimed they did not know where the work was and were hostile towards representatives of the Pavilion.

The suspect in this art heist is still at large. At this point we’re not sure if they are going to try to sell the work to make a profit, destroy the work to be vindictive (and to not be caught with the evidence), or try to use my art work as a way of extorting money. This person claims that he is owed money by the Pavilion but is unable to produce receipts or invoices to justify their ever-changing amount owed. It is possible that taking the work, which has an undisclosed value, was a way of getting money out of the situation – like a hostage situation. Without yet divulging the person’s name, suffice to say that we have a person who had means, motive and opportunity to steal from me and ultimately Grenada and who is the primary suspect in the art theft. At this point I do not have much hope in recovering the work, I have not seen this individual act with benevolence. I do not want, however, for this person to profit off of stealing my work and I want to ensure that anyone else involved with this individual knows that he is a poor example of a professional and should be avoided at all costs. With any luck the formal investigation will conclude quickly and we can all move on with the assurance that the art world is just a little safer from people who are out there for their own gain at the expense of artists and facilitators.

Sea Lungs consists of 8 paintings on sail cloth or ripstop measuring approx. 5 feet by 8 feet. Each figure has a corresponding sea fan to represent the lungs of each figure. Sea Lungs was last seen on Nov. 14th in the Grenada National Pavilion at 417 Dorsoduro, Venice close to the Zattere vaporetto stop. We are clear that this is not the fault or liability of La Biennale di Venezia or our hard-working and professional guardians. If you have any information leading to the reclamation of the work please contact me at ashermains@gmail.com.