A Colorful Conversation with Danielle (Dede) Brown
Danielle (Dede) Brown is a Bahamian Interdisciplinary Artist who works in painting, photography, mixed media, sculpture, and installation. Her work is usually figurative with a strong focus on feminine and androgynous forms, often presented in compositions that depict emotionally charged narratives. Her inspiration can be found in color trends, graphic design, film & music, fashion, pop and drag culture, editorial, and portrait photography, as well as the surrounding, seaside environment of her home in Eleuthera She has exhibited in galleries and art spaces such as the National Art Gallery of the Bahamas, Popopstudios ICVA Gallery, Contemporary Art Bahamas, the Current Gallery & Art Center, and elsewhere. Dede recently completed her first solo exhibition - Bring Me A Dream at the Contemporary Art Bahamas Gallery & Studio, Nassau, Bahamas in January of this year. Following a group exhibit called Defying Tropicality - 11 Strong Group Exhibition at The Current Gallery & Art Center, Baha Mar Resorts, Nassau, Bahamas during the month of March. She most recently participated in the second iteration of The Atlantic World Art Fair represented by Black Pony Gallery and hosted on Artsy. I had the pleasure of asking Dede how is setting a room interior design-wise the same as creating a sculpture or setting up a photo to shoot, what it was like growing up in the Bahamas and so much more.
UZOMAH: Can you explain your latest project, “Full Fathom Five,” and how you found the poetics in art and art in the poetics of Shakespeare?
DEDE: This project was initiated by The National Art Gallery of The Bahamas as part of their Mural Programme, developed in unison with their bi-annual, Inter-Island Travelling Exhibition. The institution curates a selection of Bahamian Art to be showcased in one of the Family Islands of The Bahamas. In 2020 it traveled to the island of Eleuthera and I was invited to produce a mural in conjunction with their theme – ‘From Time: Water Has a Perfect Memory.
"Full fathom five" is the catchphrase and beginning of the poem taken from Shakespeare's, The Tempest. Its original context is set during a storm and shipwreck, in water about 5 fathoms (30 feet; 9 meters) deep. It describes the drowning of the father of the character to whom the lines are addressed and the physical metamorphosis that follows.
As I was creating the mural, I started having conversations with friends about potential titles for it, and ‘Full Fathom Five’ was mentioned firstly in reference to the mural’s large scale and fathoms being a unit of measurement primarily used in reference to the depth of water. After reading the poem I thought it was an appropriate connection, particularly because the mural conveys two figures merging and morphing into an underwater environment and the poem also describes a character becoming part of the sea.
Full Fathom Five, 2 panels 216 x 96 inches, latex paint on wood, 2021
U: How does your recent mural, “Full Fathom Five,” explore pineapple farming, sustainability, the environment, and the national identity of the Bahamas?
D: The mural pays homage to pineapple farming, a once-lucrative, agricultural heritage in Eleuthera. Since 1988, Gregory Town has hosted its annual Pineapple Festival, a celebration to honor the tradition, which takes place during the harvesting of pineapples every year.
The right panel features local marine life, specifically - Lined Seahorses 'Hippocampus Erectus', various corals, clams, and other organisms found in Sweetings Pond, a neighboring, land-locked saltwater pond, located near the settlement of Hatchet Bay. The left panel depicts the opening and underwater cavern of Sapphire Blue Hole and various sea life found within. It is also located in North Eleuthera close to the historic site of Preacher’s Cave, discovered by William Sayle and a group of Christians seeking religious freedom from Bermuda, and now referred to as "The Eleutheran Adventures."
The pineapple crowns of the two figures serve to direct our gaze upward, symbolizing equality, strength, and empowerment and encouraging us to further engage, learn and consider the meaning of our history, our environment, the impact of climate change, and how we can rebuild consciously to ensure an inclusive and sustainable future in our beloved Bahamian & Caribbean space.
Having had to postpone for the past two years due to Covid, I am happy to share that the community of Gregory Town will be hosting their annual Pineapple Festival on the first weekend in June of this year! The mural has held up very well since its completion last spring, and I am so thrilled that it will be flanking the entrance to the park where the festival will be held. It will be a great reinitiation of the festival and celebratory gathering for the community and now inclusive of some public art. I hope that this will be the first of many murals or public art projects to come.
Crowned II, 9 x 12 inches, image transfer and mixed media on aluminum.
U: Can you discuss your experimenting with found objects and household items, and other materials?
D: I think this experimentation comes from a necessity of mine to always play. I am curious about the relationship between objects and materials and how they can be used together to become something else. Sometimes it is successful, sometimes not but it certainly makes my process both challenging and interesting.
Floating Head IV, 8 x 7.5, mixed media on copper, 2022
U: How does your background in interior design influence the other mediums of art you use?
D: I think my background in interior design helps me to consider the space, scale & perspective of my work. I can visualize works within spaces quite well and am able to create diagrams and plans to convey my vision, particularly when producing larger-scale works that are designed for specific spaces. This has been incredibly useful when presenting and pitching my ideas.
In regards to the influence over other mediums, I think when designing an interior or any space for that matter, you have to consider and bring together many different elements; color, light, objects, texture, etc. In my creative process, I am making all of the same considerations, but instead of applying them to a space, I am applying them to fine art.
U: How would you describe your design style?
D: Boho, eclectic & bold.
Bring me a dream, 42 x 80 inches, mixed media on soil cloth, 2022
U: How does each medium you create artistically intersect with each other?
D: The intersection occurs through layering. For example, I apply image transfers on top of substrates such as paper, wood, or metal. Once the transfer has dried, I then apply additional layers of paint, marker, pencil, ink, fabrics, or beads. After that, I sometimes take a xacto blade and scratch through the layers back down to the substrate. That way there’s a very deliberate interaction and blending between all the layers. I think this helps to create cohesion in the materials and this also makes the work more intentional.
What dreams may become, 9 x 12 inches, image transfer & mixed media
U: How has growing up in one of the most beautiful places in the world inspired your choice of colors and your use of colors?
D: There is an undeniable pride and connection that you feel growing up and living in this environment. You cannot escape the bright colors, the beautiful light, the charismatic nature, and the friendliness of the people and culture. The more I pay attention to all of it, the more I attempt to include it in my work.
Seek Flourish Bloom, 20 x 30 inches, Mixed media on paper, 2019
U: How does the use of art help you explore cultural and societal issues that might be harder to say with words?
D: I think when I first started; I was more or less just borrowing poses and was more focused on practicing and developing techniques. However, over time I started paying more attention to my subjects and compositions and realized that I could weave a narrative surrounding these issues into the work. And honestly, I think a lot of the time the narrative develops subconsciously or reveals itself much later on. I’ve looked back at some older portraits and seen things in them that I was not aware of when I first made them. I think as artists there is so much that we observe and experience and we are driven to soak all of that in and then regurgitate it into some creative form. That becomes the language.
Summer Heat, 20 x 30 inches, oil on paper, 2019
U: How is setting a room interior design-wise the same as creating a sculpture or setting up a photo to shoot?
D: I think it’s the same in regards to the need to express something but the challenge of course is finding balance or a point of interest in that creation. It’s really all about composition, be it a room, a sculpture, or a photograph. Creating that balance or focal point, combined with interesting content and materials and then somehow weaving a story into it, well then at least you’ve attempted something.
For more information about Dede’s artwork, please visit her site and follow her on Instagram.
