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03. The Catalogue
04. The Students
05. Fine Art
26. Design
The Catalogue
This catalogue consist of the work done by the graduating class
of a BA in Visual Arts.

Class of 2018 faced many obstacles over the past three years to
reach where they are today.

This exhibition is an avenue where they showcase their hard

work and desire to become future fine artist and designers.





“In order to liberate myself from the past I have
to reconstruct it, ponder about it, make a statue
out of it and get rid of it through making”, a
statement by artist Louise Bourgeois. This
sculpture is my attempt to liberate myself from
the trauma I experienced as a chiltd. The making
of this piece has become a form of therapy for me and its form is a
representation of the questions, shame, anger and poor views I had

about myself throughout my childhood and early adult years. It is
my practice as a creative to use materials that best express what I
am trying to convey and so I have chosen to work with palm leaves.
Leaves have a life span and they gradually decay. These qualities are
representative of the liberation I am seeking: the eventual death and
resolve of my mental tug of war. Particular aspects of the sculpture
that are important are the stripping, weaving, knotting and tying of

the leaves. Each action represents the control I have now concerning
these emotions, but did not have in the past. It is not my wish for
those who view this piece to discern my story, but instead I leave the
piece open to the interpretation of its viewer.

AIMEE FORBES Wooded frame, fabric, twine and canvas
My relationship with God is the driving force behind my art. I want
to know who God is and reveal His nature through art. My enquiry
began by focusing on God as a Father, but later moved into the ideas
of resurrection. However, instead of resurrection from the dead, I
focused on the transformation of discarded things. I aim to reveal
that God can raise seemingly insignificant people from obscurity to
prominence, and His tendency to work with people who the world
would consider least qualified to do great things.I started working
with rejected materials like plastic and glass bottles, cardboard and

twine. I gravitated to cardboard, I dismantled, tore and folded, but

found it difficult to shape or re-gather into a presentable form. As I
stepped away from my original intentions and simply ‘made art,’
I found it easier to produce. I later used canvas, wooden frames,
brown cotton twine and old fabric. A different kind of rejected
material – “leftovers.” The work developed into simple minimalist
“paintings” of fabric and twine, which were more effective than my
initial approach. As with my relationship with God, nothing seems
to happen as I expect, and the most impactful moments have been
those that I did not plan. I found that the times at which I felt least
confident about my art have been the most powerful.

Palm leaves, twine and canvas thread
“In order to liberate myself from the past I have to reconstruct it,
ponder about it, make a statue out of it and get rid of it through
making”, a statement by artist Louise Bourgeois.

This sculpture is my attempt to liberate myself from the trauma I

experienced as a child. The making of this piece has become a form
of therapy for me and its form is a representation of the questions,
shame, anger and poor views I had about myself throughout my
childhood and early adult years. It is my practice as a creative to use
materials that best express what I am trying to convey and so I have
chosen to work with palm leaves. Leaves have a life span and they
gradually decay. These qualities are representative of the liberation
I am seeking: the eventual death and resolve of my mental tug of
war. Particular aspects of the sculpture that are important are the
stripping, weaving, knotting and tying of the leaves. Each action
represents the control I have now concerning these emotions, but
did not have in the past. It is not my wish for those who view this
piece to discern my story, but instead I leave the piece open to the
interpretation of its viewer.

My art has mostly focused on the subject of nature, in particular
animals. I typically use graphite, acrylic paints and ink. My work
didn’t need any deep meaning or any meaning at all. Art was a hobby.
It was a form of therapy. A little over a year ago there was a shift in
my consciousness in regards to art. It became more than a hobby;
it became a way of expressing myself and a means of becoming
comfortable in my own skin. I will be applying henna not just in
the traditional parts where henna is usually placed like the hands
and feet. I will be applying henna on other parts of my body such as
my back, thigh and chest. Henna is traditionally worn by women on
specific occasions such as religious holidays or on their wedding day.
Henna is not typically worn by men. Based on a person’s religious
background, males wear henna only on their hands for their wedding
day. My art work challenges the traditional placement of henna on
the female body by placing the henna on the male body in places
where it would not be traditionally placed.
Currently my art work focuses on henna not just on the male body
but on myself. While mapping out the route of which to proceed
in this project I thought to myself why do I look at the bodies of
other people as “canvas”?
Why don’t I look at my body
in the same way? Is it that I
look at my body as inferior?
This is where I realized that I
was very insecure about my
body and I questioned “why is
it that I feel this way?” Then
it occurred to me I feel this
way because my body type is
not of the “model figure.” In
using myself I am challenging
my own self-esteem issues but
also challenging stereotypes of what the male body should look like.
After the henna is placed on the body and left to dry, the work will be
photographed. My current continuation of this work will focus not
only on masculine type poses but will use props such as a hat which
will help to reinforce the idea of masculinity. The raw photos will
then be edited. The photos will be edited by cropping what I need
from the photograph then a black and white filter will be added to
create areas of strong contrast. The photos will then be cropped very
tightly to give an intimate feel.

Medium density fibre-board, Cable wire, spray paint,
speakers, amp, car deck
My installation pieces give people the opportunity to completely
engage with my artwork rather than simply looking at it from
a distance. This helps creates an intimacy between my work and
the individual interacting with it. My latest installation focuses on
perception through the use of sound. By engaging the auditory
senses with the use of four uniform black speakers the work compels
the audience to listen. Inaudible voices are projected which enter the
mind inviting contemplation regardless of whether the individual
wants to. This experiment aims to manipulate how individuals will
put these objects and sound together to create a personal narrative.
But is there a narrative? By listening and perceiving the work
welcomes a “vacuum of meaning,” that is open to interpretation.

CASS’MOSHA AMOROSO-CENTENO Red Sand, wood glue, acrylic paint and wood
In the way that a certain kind of respect is given to authority figures
like doctors, police officers or teachers, there is a similar relationship
between certain forms in art and the viewer- forms such as geometric
shapes or straight lines. There is a different response when the
viewer confronts straight lines or geometric shapes as opposed to
freeform shapes. We tend to give more esteem to these structural
forms and dis-credit the intent of more organic forms. Hence the
notion of geometric shapes seen as deliberate and calculated and
freeform shapes lacking in technical skill. I translate this response as
geometric forms and straight lines having a certain “authority” that
other forms may not have.

Acknowledging this authoritative bias, I question- To what extent

do we have this impression? If these ‘authoritative forms’ were
doing something that would otherwise be considered disruptive or
harmful, how would we identify and treat it? In a case where the
line is doing more than being straight, would there still be a bias?
Exploring these questions and how it correlates with social norms
serves as the basis of this artwork. My influence comes in as part of
the importance of this artwork. I think it’s important to understand
how we understand things; how we perceive things subconsciously,
intentionally and unintentionally. Exploring and analysing the idea
gave both influence and motivation. Other definite inspirations were
artists Barnett Newman, Nicola Samori and Frank Stella. For the
technical aspects of the artwork I’ve been under the charm of the
‘purity’ of materials- using them exactly as they are or altering them
as little as possible; highlighting their natural textures, pigments,
scents and the versatility of the material. Red sand, acrylic house
paint, wood glue, wooden doors and mud were used as both an
exploration of unconventional materials as well as to deepen the
association of a local social context.


Fabric and thread
As a textile artist I have engaged the use of fabric and thread. Tangled
yet separated, knotted yet free- flowing these thread and fabric detail
the paradoxical interactions between the spousal caregiver and the
patient. The artwork is influenced by the Japanese artist Chiharu
Shiota who has produced installations of thread and objects that
represent connections to times and memories. It is also influenced
by artist Nava Lubelski who has repaired and transformed situations
and objects through embroidery and paint. Fabric – stretched, torn,
frayed and burnt yet attached is a symbol of the daily and onerous
duties of the distressed caregiver. The rigidity of burnt synthetic
fabric conveys the often unfeeling words received by the caregiver.
The attachment of the transparency of suspended candy floss
illustrates chapters of desire to communicate to the patient but is
debarred by loss of memory. It depicts the touch of the caregiver yet

that touch is not clearly realised or lovingly remembered. The work

paints the confounded and entangled feelings in a relationship that
transcends into a place of imprisonment. This combination of red
thread and red fabric is a narrative of moods – bundled, clustered,
cocooned and writes a journal of a battered caregiver who struggles
to restore self- worth. Places of semi-unravelled threads tell of an
urge to be listened to and to allow for someone to partake in this
conversation. It also creates strands that speak of a caregiver’s
longing for freedom and redemption of self. An installation of
twelve feet in height and sixty- three feet in width elicits a desire to
disconnect while provoking a want to connect.. It creates a search
for an avenue to escape yet to look up with outstretched arms.
Spaces between fabric and thread create pathways that seek to
provide places for dialogue yet to find quiet and an unction for the
caregiver. Therefore, that which is connected is separated, and, that
which is separated is connected.

CURTIS THOMAS Resin and lace
The human condition is the one continuous theme that runs
throughout my creative process for over the last ten years. The
constant in my work is the use of the human form as an essential
element or as a consideration from which the pieces v`evolve. As
an artist, I enjoy exploring media of all kinds. I have no specific
direction in terms of a style or expressive form for my pieces. What
I do have is an aesthetic belief, which I try to incorporate in all of
my work. For me, making art is about my own personal challenge.
As an artist, I have spent my career in an effort to reach others to
combat against this sense of isolation. The creative approach to my
pieces is profoundly process driven but fluid. For me, making art

can be a spiritual journey; a form of adoration to the creator. The

ambitions for my latest work, a sculptural, “Undone” is to create
optical tension in the piece while capturing a sense of something
fleeting. In this work, my focus is on the delicacy and strength of
the material, the relations between the figure in its environment
and the inter-play of light and shadow. “Undone” consists of a
reclining female figure, made entirely of lace and resin. In creating
the work, my goal is to shine a light on the issue of depression.
One is said to be undone as one’s mind unravels and its physical
manifestations in the real world The figure seems to be unraveling
. Another aspect of the sculpture is the duality of the material and
its association with feminism and delicacy.

Before Naming

Destinee Walcott
Burnt out cigarettes
I am collector of things. Currently, channeling my contemporary
artistic side resulted in me developing an extensive collection of used
cigarette butts. This originated after learning about “Artist Walks”
and decided to conduct several experiments on my daily commutes
to and from University of the West Indies. Walking defines the human
existence and has stimulated our creativity since mankind began
thinking in abstract forms. In various aspects, walking acts as a means
for exploration, interpretation and observation. Stepping through

them as a wanderer, I become an observer of all the environs; I seek

inspiration, escape, or mode of expression. I was stuck in, to what some
people define as an artist block, and walking, since it occupies the space
between contemplation, idea and delivery. I decided to attempt to make
these artist walks part of my daily routine. This process includes the
gathering, cataloguing and arrangement of the cigarettes I’ve always
been fascinated every time I attempt to collect the cigarette, how it
becomes this adventure, an endless treasure hunt. This really made me
aware of how powerful perception is, and how much we really take
for granted. I want to challenge various ideas and introduce a different
element within the museum space using something that is familiar to
everyone, and everywhere.My influences at this point are a compilation
of various artists such as Marcel Duchamp, Piero Manzoni’s simple,
abject art, and simply put, Damien Hirst’s personality.

Optimism Bias
Kimoi Hamid Soap, ink on paper and photography
A quote by the 18th century Scottish philosopher, Adam Smith,
resonates with me as he states, “as we have no immediate experience of
what other men feel, we can form no idea of the manner in which they
are affected, but by conceiving what we ourselves should feel in the like

seems to me an apt way to summarize my approach to my current

body of work. My inquiry into the topic of mental illness all began
with a disclosure of my family history of this phenomenon, hinged on
my interactions with my fifty-year-old mentally ill uncle. I decided to
delve into this emotionally tumultuous topic by using klecksography in
a different way. For me it is important to stay true to the psychological
use of the ink medium, but also elevate the manner in which it is
used. Thus, my work features photographs of white household tiles of
varying sizes with body prints in black ink. This method of working
provides a high contrast and the ability to explore themes of absence
and presence based on my experience of being on the periphery of what
it means to be mentally ill, stepping into and out of that (quite literally).
The prevalence of household tiles also provides a concrete parallel to
the incidence of mental illness in our society. This parallel is similarly
discerned through the use of items such as feet and chairs. A related
aspect of the work is my process of making cupcake soap sculptures
due to the symbolisms surrounding the materiality of soap; that is its
ability to cleanse, its prevalence which signals non-discrimination and
the ideas of wanting and unattainability. It links to the recounting of
my uncle consuming soap- an initial indicator of his onset of mental
illness and I find myself wanting to be a purist to the actual experiences
and views of my uncle which makes it in many ways a tribute and
celebration of his uniqueness.

Broken but BEAUTIFUL

Glass and glue
Throughout my life I have found myself in situations that have once
left me broken in pieces and through this I have sought many a time
to piece myself back together in an effort to regain my former self.
Despite this being a nearly impossible task, as something that was
once broken is difficult to regain its original form, I strive to continue
in the process of rebuilding myself. Through this exploration of
construction of one’s self, broken pieces of glass are pieced together
in an effort to signify the restoration of what was once destroyed.
One might ask “Why glass?” and specifically “Why broken glass?”
Glass being a material that has multiple uses but hvowever, it is
a strong, yet fragile material. The use of glass signifies to me the
fragility of an individual and once broken, the process toward
restoration is a meticulous and time consuming one. This body of

work includes the process of separating, washing and drying small

pieces of broken glass. As the glass is allowed to dry I begin to put
each piece of glass together, selecting specific pieces that fit each
other in a delicate manner. When the pieces are together the cracks
between each piece are allowed to show catching light and allowing
the poetry of broken glass to shine. Through this work, my objective
is to relay ideas of layering, piecing oneself together through the
basis of experience, allowing for the shaping of one’s identity. We
are made up of situations that have once left us broken in pieces at
one time, however, that does not render an individual as being of
lesser value. Beauty may not always derive directly from something
that was purposely created to be beautiful, but it may derive from
something that was once broken. Broken but BEAUTIFUL.

Fiberboard, wood, paint and varnish
My practice is motivated by unexpected phenomena in life. I
question the ‘how’ and ‘why’ of experiences rather than the ‘what.’
My latest work deviates from a more representational approach in a
presentation that is minimalistic and abstract, yet my interest in ‘how’
and ‘why’ remain. The artwork offers an unconventional prism- one
that does not split light into multiple colors but rather absorbs light
in a manner that gives shadowy form to persons interacting with it.
The work is a comment on human nature as it explores these aspects
of ourselves that do not readily come to light.

Glass, Kool-Aid and plastic bags
I lost my father on December 17th 2016, as a result of multiple
health complications. Prior to his death, my family and I were
responsible for his health care. Witnessing the deterioration of his
health made me feel sad, depressed, hurt, angry and often times
helpless. These emotions were instrumental in creating this work.
Through the use of unconventional materials such as Kool-Aid
and Tang which represents his body fluids. The dripping plastic
bags which symbolizes the worsening of his health and body and
the vitrines which captures the legacy he left with his family, thus
making this piece both meaningful and therapeutic. Often times we
view death and losing someone as dark and depressing, yet I have
found solace in the ability to express this timeless moment through
conceptual art. My intent is to give the viewer a glimpse of how I
felt during this experience.


State of Mind
Wood, rope, wool, thread and paint
My work focuses on the impacts of emotional abuse, which has
shaped my life and relationships. I have found that throughout my
journey of self-realization, I have within me an emptiness, darkness
and rage – effects of emotional abuse. Through my art making, I
explore love, hate, pain, anger, outbursts and containments of feeling,
self-perception and self-doubt. My work is informed by surrealist
and minimalist approaches. I am influenced by the contributions of
contemporary artists such as: Debbie Smyth, known for her thread
work, Eva Hesse, known for exploring emotional sensibility and
anxiety from her personal journey and Mona Hatoum, known for
her installation and sculptures inspired by themes of displacement,
containment and violence. I work with; wood, rope, wool, thread
and paint. My pieces take on an abstract quality. The wood can be
seen as a base, foundation or backbone for most of my works and the
rope, wool and thread exist as sub-elements but make up the body
of the work. My process involves weaving, knotting and webbing
of the rope, wool and thread on the wooden surface to investigate
complexities of emotions to confront conflicts of connections and
disconnections and to capture states of minds.

Centibus Parasitica Incessabilis Delicti

Mirror, plastic and ink
I have always been intrigued by the propensity of human beings to behave
in the most self-serving manner, in other words, the ability to be corrupted
on multiple levels. This project began with thoughts on what conditions
cause human beings to exhibit characteristics of parasites – parasitica
incessabilis delicti. What are the similarities between corrupt behaviours
and parasitic behaviours? What crippling effect does corruption have on the
development of a nation? What are the fundamental conditions that play a

role in the perpetuation of corruption? Our failure to challenge corruption

becomes apathetic - yet we complain about it, are also part of it, but seem
to be unable to acknowledge our complicity. This leads me to question my
own participation in the curse of corruption. I constantly question to what
degree am I presently corrupt and where is the line between what I am and
what I could become. This work deals with the distortion of the human
psyche once it has succumbed to the behavioural practices of corruption.
My process began with my default media; sketching, doodling, painting
pictures in my mind. The turning point came for me when I asked myself
“How do I make a portrait without making a portrait?” This is when it
clicked and I decided to print an image on plastic sheeting and use a heat
gun to shape the plastic against a skeletal head which I made from clay.
The use of plastic serves as a metaphor to express the transformation of
individuals who we have given the power to represent our interest; in
whom we have put our faith to be ‘transparent’ and our complete trust
in what they represent; but have succumbed to the toxic environment in
which they find themselves or even became intoxicated with power. The
result, as imagined, was a grotesque distortion of the portrait of that human
being – an allegorical portrait of the deterioration of the human psyche.

Xala Ramesar

Nylon fabric, projector and virtual reality headset
I am attempting to create spaces that use materials or technologies
as lenses through which alternate, subjective realities can be viewed.
The distortion of certain elements of a space is used to disorient
the viewer in a way that is parallel to the unsettling feeling of
derealisation. I have used the weave of synthetic fabric as a lens to
obscure and distort, as it creates dynamic patterns with layering and
motion. The visual language of digital decomposition is also of use
to me, as glitches and static become analogous to the fragmentation
or deconstruction of one’s perception.


Ordeal (Graphic Novel)
There can be more graphic novels or comic books that represent
our local image through their art. I decided to use my passion and
talent in illustration and graphic art to create a series of novels that
focus on locally inspired characters. The Novel features characters
whose names and designs are directly inspired by individuals i have
a personal relationship with, or individuals i have come across in my
everyday endeavors. The intention is to have the viewer open the
book, and see themselves on the pages of a ‘superhero’ comic in a
way they have never seen before. The story follows a young mma
fighter named Che Heart, whose life is changed completely when an
unexpected guest visits his masters dojo, creating a series of events
that lead to the demise of many, forcing Che to become a type of
man he once despised.

Colleen Kewley
A Walk Through My Back Yard
Water, starch, vinegar, glycerine and plants
With the increasing demand for plastics coupled with its adverse effects
on the environment, upcoming designers should be conscious of this
when putting forth new products. In order for this to happen, attention to
the potential of bioplastics stemming from bio-culture needs to be given.
Although the technology of bio culture isn’t new to the creative market,
its potential has yet to be fully explored. The main problem with plastic
is that it does not degrade and my personal interest in nature and natural
materials always lead me to wonder if there was a refreshing way to utilize
them and rid them of the stigma that I noticed they had while growing
up. By utilizing a bio plastic, easily made over the stove using starch,
glycerin, water and vinegar, and combining them with locally found
plants I was able to create a pliable sheet of material that offered a fresher
take on natural materials and opened up its potential of implementation.
As a designer I am quite proud to be involved in bio-culture, as more and
more successful companies that utilize plastics are starting to go greener.

Brand: Ishtika Bharat
ISHTIKA BHARAT Collection: Rainy Season 2018: Hyacinths
Silnylon, georgette and polished cotton
I draw inspiration from the objects that I interact with in my
immediate environment and from the places I’ve travelled to. The
exposure to different objects spanning across nature, historical
artifacts and different cultures play an integral part in the work I
create. These inspirations are the main impetus behind my design
process as I continuously internalize and research items that I have
been exposed to in my surroundings when creating iterations.
Through my work, I’d like to impact the way Caribbean fashion is
viewed and by extension would like to develop our style of dressing
into something that is uniquely Caribbean. With this in mind, I
considered the seasonal influences on fashion globally and related

it to the two seasons, dry and wet seasons, which are generally
experienced in the Caribbean climate. While it is easy to dress for the
dry season it is more challenging to do so for the rainy season, given
that it is consistently hot with unpredictable and intermittent showers
during this time. Thus my product, Rainy Season Fashion, aims to
address unexpected changes in the weather during the rainy season
through the development of convertible and water resistant clothing
that is both versatile and comfortable with the ability to adapt from
dry to wet weather. I drew references from the Water Hyacinth while
creating this collection. The Water Hyacinth is a flower that blooms
and changes its form as it grows out of a body of water. Similar to
the Water Hyacinth in its basic form, my clothing in its initial form
mimics its bud while the conversions of my pieces, from dry to wet
apparel, imitate the blooming of the flower which results in more
elaborate pieces of clothing. This collection also aims to personalize
and expand Caribbean fashion beyond Caribbean inspired prints and
resort wear. I envision this expansion or morphing of the traditional
ideology of Caribbean fashion to eventually become more inclusive
in global fashion.
Jessica Francis
Mosea (Modular Seating)
Plywood, leatherette, foam and paint.
If you were to visit The Department of the Creative and Festival
Arts, you may notice that the campus provides no seating in the
public space, and any artwork on display is either falling apart or
not well maintained. As a designer, I wanted to solve this problem
by presenting the concept of an interactive chair/ art piece titled
“Mosea” (Modular Seating). My aim was to design a mosaic-like
piece of artwork with foldable, movable and extended parts that
would function as seating. My inspiration for this design came
from various sources, but to name a few: paper folding techniques,
screen printing, furniture designer Leo Salom and the work of
Christy Oakes, as well as, the structural elements of the Cheeseman
building on the DCFA campus; the location for which my chair was
built. I also added my own personal style, which I would describe as
colourful, surreal and abstract. I wish for the students to experience
comfort as well as motivation while engaging with my seating.

Battimamzelle Activity Book
Kadine Antoine Paper, fabric, fabric paint, sponge, wire
The Journal is diary/activity book targeted at teenage girls for them
to have a private ‘space’ to explore some of their inner feelings,
especially their anxieties associated with depression. While
researching the project, I learnt of some of the extreme and self-
harming behavious of some teenagers. I felt inspired by some of the
quotations and was energized to reach out to teenagers who may
be suffering silently. I was particularly inspired by the Butterfly
Movement which is designed for women and girls of African descent
who lack a cultural identity and connection to the Earth, to re-connect,
re-generate, and re-build personal relations with each another and to
protect the environment from pollution. The design themes for the

Journal was inspired by other movements devoted to treating such

illnesses as anorexia, binge eating and bulimia. These sites often
have angels, dragonflies, and butterflies motifs, evoking images of
an idealized state of nature and innocence. My greatest challenge
was to design activities which were in keeping with best practice in
the field of psychology. I had to engage with social workers and a
practicing psychologist who encouraged me and bemoaned the need
for such projects using local references materials. Accordingly, I
have included some local flora and fauna and traditional folklore
characters throughout the journal as part of the hands-on activities
to be completed by the reader. The battimamzelle (dragonfly) is
supposed to enchant and calm the reader.

RafEEYah Shah
Mixed media
“Clippa” is a character created to capture the eyes, hearts and mind
of the viewer. It’s design is meant to evoke feelings of compassion
mixed with an uneasy and eery sense although it’s appearance may
contradict this at first glance. The character was inspired by the
notion that looks can be deceiving and one should never judge a
book by it’s cover. To address this, “Clippa” was created and took
the form of a creature unbeknownst to man encouraging the mind
to conjoure up where and how it should fit in. Clippa’s design is
fitted with a grim and depressing pallet of grays and black to it’s
body and sharp horns, however a bright pop of orange was added
in fine details such as the eyes, paws and tongue. This was done to
represent an enthusiastic brightness which suggests the character’s
pleasant features and personality..

D’Lime Spot
RHS steel frame, 1.8” White Translucent, Acrylic sheets, 1.8”
White PVC Sheet, 1” x 1” Aluminium Angle and Transparent
Adhesive Vinyl, 1.8” Aluminium Composite Material (ACM),
White LEDS
As a designer I keep my work clean and simple. Simple can
speak louder than being overpowered by unrelated elements.
My inspiration comes from the Bauhaus movement where
the use of the font Futura rose to fame in their simple
typography posters. Typography is a composition of text
which are in a specific style of font or typeface. There
are typographic signs, some are; ‘I Amsertadam” in the
Netherlands, ‘LOVE’ in New York and “Toronto” in
Canada. The sole purpose of the sign is geared to helping
locals find a new way which is also fun to enjoy a “stay-
cation” This signage is just the beginning therefore it won’t
start a vast movement.
I am inspired by the size of the letters and figured that it
would be an interesting invention to make my own for the
people of Trinidad and Tobago. The intension behind this
sign is to capture the attention of local tourist as well as
tourist behind the region. Keeping the theme of vibrance
and style being quirky it is almost like a traveling night life
“Why was the word ‘lime’ chosen?” Lime is a popular term
used by locals which is a gathering of friends or family
to have fun and relax. The word was specifically chosen
because of the meaning it has to us, the people of Trinidad
and Tobago. Our population is nothing without a good lime.

Who are you?

SafiyYah shah
Paper, pen, pencil and computer animation
‘Who are you?’ is a 2D animation short that showcases the journey
of a child that discovers the looming darkness that resides within his
home. The film aims to capture the fast paste moment of innocence
being stripped form a child by the person intended to protect him.
However, the lines become blurred as we venture deeper into the
child’s memory as he tries to decipher who should be trusted. The

visuals of the film were made to simulate that of a preschool child’s

drawing in order to keep with the idea of ‘childhood innocence’. In
order to follow through, matching the eeriness of the visuals, the
story is told with the use of sound as it enhances and intensifies each
scene as the story progresses keeping the viewer in a constant push
forward by the tracks produced. .


Depth of Field - The Reflection

Plexiglass, reflective tint, plywood and RGB LEDS

Depth of Field seeks to explore the conceptual aspect of design;

designing towards a particular experience for the consumer instead
of around a product. Following the belief that experiences lead
to memories and memories last and imprint on a person, Depth
presents a visual sensory experience that aims to immerse the viewer
in an futuristic display of lights and challenge their understanding
of space through the use of optical illusions.Personally, I prefer to
place heavy importance to the aspect of design where dreaming
is necessary and central. Which naturally lead to linking both
‘dreaming’ and ‘memory’ during throughout the designing process.

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