Life Between Islands Caribbean-British Art 1950s - Now

 This exhibition at Tate Britain explores and celebrates the relationship between the Caribbean and Britain in art from the 1950s to today. Most of the artists featured are of Caribbean heritage, they were either born in the Caribbean and came to Britain, or were born to parents who came to settle in Britain.

It's a very moving exhibition, you get immersed in the intensity of experiences of the artists, with videos, photographs and artworks. The Caribbean islands are very special and enticing; this exhibition, really many exhibitions in one, gave a real taste of the Caribbean. It's is divided into themes: Arrivals, Pressure, Ghosts of History, Caribbean Regained: Carnival and Creolisation, Past, Present, Future and Afterword. I picked a few stand out pieces, for me, to illustrate the exhibition, but haven't included the 1950s living room or any videos.

This gorgeous pattern is Called 'Golden Harvest' a drawing on textile by Althea McNish who moved to London from Trinidad aged 27, and graduated from the Royal College of Art in 1958. Golden Harvest, her most popular design was apparently inspired by wheat fields in Essex which reminded her of sugar cane fields in Trinidad. She was the only female artist in the Caribbean Artists Movement. An exhibition of her work will be on show at the William Morris Gallery until September, there's a Guardian article about her here.

The piece above is by Donald Locke called 'Trophies of Empire' 1972-4 consists of an open wooden cabinet filled with ceramic cylindrical forms mounted on a range of holders. The title is a reflection of the impact of colonialism and slavery, asking at what cost potential trophies are gained.

Above a painting by Denzil Forrester called 'Jah Shaka' painted in 1983, it depicts a Jamaican sound system operator based in south east London. It's a very atmospheric painting.

This piece in watercolour, pastel and crayon on paper is called Missionary Position 11 by Sonia Boyce.

The praying figure on the left suggests passive acceptance, while the figure on the right suggests an alternative position. The title stands as a metaphor for the role of Christian missionaries in imposing colonial rule and oppression.

Above Sonia Boyce She Ain’t Holding Them Up, She’s Holding On (Some English Rose) used on the front of the booklet which accompanied the exhibition

Above 'Maracas lll' by Hurvin Anderson , the painting depicts Maracas Bay, a popular beach for locals in Trinidad. 

Finally, not in the exhibition, but in a room nearby is the magnificent 'No Woman, No Cry' by Chris Ofili, a tribute to the London teenager, Stephen Lawrence who was murdered in a racially motivated attack in 1993.

Within each of the tears shed by Doreen Lawrence, is a collaged image of Stephen's face, while the words 'R.I.P. Stephen Lawrence' can be seen beneath the layers of paint.