Grenada-raised Asher Mains infuses “Dreaducation” with Bob Marley’s lyrics while channeling Pollock & Kahlo), writes The Bajan Reporter’s AirBourne. “Everything is Peachy in Babylon” is Asher Mains’ most recent exhibition project. It is on view at the Gallery of Caribbean Art in Speightstown, Barbados.
One of the big attractions is the “Wings to Fly” installation where people are encouraged to stand in front of the ten foot wings to be able to envision themselves with wings to fly (above the destructive systems that entangle us).
Artist’s statement (“Everything is Peachy in Babylon”):
The concept for “Everything is Peachy in Babylon” is an anti-ad campaign sarcastically pointing at the promises and illusions of the American dream and the glorification of imperial systems. Growing up in the Caribbean and later pursuing university education in the States, I realized that the empty promises that fuel American ideals still draw people from abroad to pursue their own illusions. While much of the “first world” is in disrepair and socially inept, it is still promoted as the destination for promising West Indians and others to become all that they can be. This exhibit encourages viewers to inspire themselves with the invisible wings necessary to overcome the destructive systems that Babylon promotes as prosperity.
An underlying theme in much of the work represented in this exhibit is the concept of fractals. Fractals are a mathematical theory that is used as a way of describing shapes found in nature. Mountains, waves, and trees are all natural expressions of fractals. My approach to fractals is a social one. The concept is that behaviour repeats itself (in iterations) in a self similar way, indefinitely. Further, the fractal patterns inspires itself and dictates what future patterns will look like, similar to two mirrors facing each other, a phenomenon known as recursion. In a sense of time, the way you use your time in a day is an approximate representation of the way you use your time all year. The market scene is not only represented by shapes that are fractal in nature but the context of the piece is a social fractal. The entire scene is a market scene, a center for food production and distribution. Within the scene there are smaller iterations of the greater; someone cooking a pot, someone eating food. On the smallest and most intimate level, a mother is feeding her child, creating feedback that paints the entire scene once again in an intimate personal manner representative of the reality of a marketplace.