Lawson R. Lewis

Antigua & Barbuda

A visual story of 3 women who had to overcome and in some cases have not overcome the repercussions of being displaced when hurricane Irma devastated Barbuda.

Alana Brooks


At the very least, the onset of climate change has been undeniable due to the increasing presence of climate-related discussions and organizations around us. But it is when the effects were experienced personally by our Caribbean family, with the onset of catastrophically destructive hurricanes over recent years, that the reality viscerally hit home.

The ideas of inevitable destruction and displacement are now always in our minds and how we define, understand and choose to invest in our spaces and the built environment is changing.

My Proposed Intervention speaks to the vulnerability of physical space and how ‘space’ is so tied with ‘self’. The proposal is based upon a conceptual architectural design comprised of a simple kit-of- parts. This kit-of-parts includes: a frame comprised of pre-cut hollow-sections, suspension rods, pre- cut PVC panels and concrete pad foundations. The materials that make up of this “kit-of-parts’ can be attained, maintained, replaced and stored with ease due to their size, nature and availability on the market. The simplicity of the design also seeks to negate the need for specially-skilled workers, tradespersons or construction systems so as to ensure that the structure could be erected quickly and by any available team or workforce.

The steel frame creates an exo-skeleton for the structure and the placement of the exo-skeleton on the structure’s exterior allows the PVC panels to become un-obstructed interior vertical walls or surfaces. These cleared vertical panels enclose a compact but comfortable space. Further design development promises that the vertical surfaces can enable areas for rest, preservation, display, and simple mechanisms that support the needs and nuances of the individual(s) who make use of it. A sense of “self” is therefore allowed to re-emerge in this space as the individual is able to re-claim self and space with ease.

This Proposed Intervention is a commentary on how a community or individual can adapt, find shelter ,RE-imagine, RE-claim space and RE- emerge. It is also a commentary on what types of spaces are most practical and beneficial to invest in for the long-term as we face a long-term characterized by uncertainty.
It suggests that “resilience” does not necessarily equate with permanence but that to be resilient one must be able to re-build and re-emerge with ease.

Architecture, Collage,Mixed media

Jaryd Niles-Morris


Searching for genius and meaning

Justin Jeffers


Statelessness is an extreme form of adversity, which more humans are currently experiencing than most of us are aware of. Whether it is a case of losing everything (home, identity, etc) or being born without access to basic human needs within society. It calls for a person or persons to be extremely resilient in the face of adversity. The African Adinkra symbol for twisting /the symbol of the Nkyinkyim is used to depict the twist and turns one might face in the journey of life. The journey of those stateless people can prove to be torturous and they must be versatile and resilient to survive. This symbol is the basis for the sculpture. The sculpture is a symbol of resilience. The final project image is of the sculpture as an instillation in space. It informs the space. It signifies the will and determination to go through it, handle whatever and find a way to succeed.

David Daniel Smith


I am a visual Story Teller.
I make animated Films with the sole purpose of inspiring others.

Vanessa Lissa Winston


Seeking perfection is just an illusion.
We were born perfect. Our ways may not be perfect. There is no perfect square, rectangle or circle in CREATION. One tree different shape branches and leaves. Can we say our right hand is equal size and shape to the left? We are diverse and individually unique, to our conditions but carried through life by One All Mighty force.


So why section out and place people in boxes. Why Statelessness



De Basket- made from salvage leather (life) and copper wire (spirit) pulled from broken home after hurricane Maria. Unnamed part of coconut (marginalized) collect from waste after the water and food inside have been removed.


The Perl and black obsidian eye stone depicts the innocence and divine energy of this piece. Copper traditionally know as a purifier of water; speak of the purest hearts. Leather used for warmth and covering speaks of the journey of life. The unnamed coconut part yet it brings such beauty and style to this piece. One of a kind DeBasket.

Christopher Roger Williams


Art is a healer. It is spiritual! It is the supernatural energies unleashed through the minds and bodies succinctly yet abstractly engraved on multiple canvases, tangible and intangible. I am an artist because I shape minds and emotions of distorted and broken “animals”. My work paints pictures of hope, success and power. My work invokes lost strengths and energies, buried beneath social ills.



Trained in Languages, Music, Film, Drama and Theatre I use these energy fueling channels to create works of art. My pieces depict stories of life — authentic, realistic yet enigmatically simple. I create work that speaks empowerment, bringing people together to shape culture and future. I embrace technology and a flipped approach to creativity and innovation! I am a stateless thinker and creator!


I am Christopher Roger Williams.


Precious Barrow


Apátrida is an interactive 3D video game that is designed to tell the story of statelessness through the life of a young girl named Nin. Nin is a refugee from a Spanish speaking country who has no home, family and no form of identity. It is our duty as the player, who happened to bump into her on our daily morning routine, to make a decision on whether we help her get integrated into our country or ignore her. There are also many opportunities to help Nin with clothing and food as well which will be determined by the coins or items you collect along the way.
Apátrida also offers an opportunity to promote the work of two other artistic and entrepreneurial women who have not only experienced statelessness themselves, but also created ways in which they too can assist other women who are stateless.

Reginald Senatus


My creations are the reflection of my generation, struggling between a historical discourse and anchored in a socio-political present. I am an artist committed to the influence of my country and its culture, to the living conditions of my colleagues …
With art I have been able to see reality from a new perspective and come to understand how the world works. I think that artistic work, in addition to providing comfort, is also a source of incessant annoyance.
My inspiration often comes from captured speeches. Based on these working topics, I present my vision of the world. I’m not trying to please or displease. I’m just trying to show what’s going on in my mind.


My tools and working materials are hammer, pliers, screwdriver, brushes, geometric instruments, pen, bristol sheet, scissors, razor blade, wood, tires, nails, cardboard, cement or glue, mirror, paint, canvas, manufactured objects and recycled materials. I use each of these tools and materials, depending on what I have in mind.


Most of my works are made from recovered objects, his assemblages of objects are vital materials for most of my creations, with the aim of exhibiting certain narrative facts in order to make us meditate on the instability of the world we are in.


By shaping them I allow them to develop in the intuition of the moment, according to my state of mind, through my creations, I find myself and issue opinions, judgments, messages and other real or existential claims, they allow me to take an observant and critical look at the human community and social and personal attitudes.

Esther Chin


My artwork titled, ‘HER 2021’, investigates violence against our mothers. My work addresses gender violence, femicide and toxic masculinity in our society and the role we play.


HER 2021, comprises of a variety of medium, the dress is made from rose branches (rose bush), plastic bottles and tools use to commit violence. It is a site-specific installation which will have a video installation. The urge to experiment with various material has foster my innate desire to create works of art.
My art (heart) is influence by my Mother and Grand Mother. They encouraged my artistic expressions and the synergies of life. The loss of ma mere and grand mere has created an unbearable loss in my heart. I emphasize with the daughter who have loss her mother to violence especial by the hands of her father (figure).


I am fascinated by the traditional understanding of love. What starts out has passion soon becomes corroded into hatred, leaving only chaos and broken heart’s, art carry healing within our souls soul.

Julissa Layne


‘Force of Storms’ is a series of illustrations telling the story of a child these looses their parents to a storm that destroys their beachside home. Forced to live in the refugee camp of a nearby island, they deal with the trauma of their experience, retelling the story of their grief. The story focuses on the mental health of the character thrust into a horrible situation as they move through the 5 stages of grief: denial, anger, bargaining, depression and finally acceptance.

Tukula Ntama


Stateless is a feeling of impermanence, of homelessness, of being without roots. My community in rural Jamaica feels a lack of attention to our basic needs from the government,  the affects of climate change, financial instability and gentrification. I’m born and outsider, yet I too am a part of the community. I feel all of our community’s frustrations plus my own personal feelings of statelessness.



I feel choked by the man made debris that flows into the community via the sea and rivers,or by the hands of humankind.



I challenged myself to create my Stateless piece, “The Problem “, using recycled, reclaimed and found materials. I wanted the pieces to appear wind blown and distressed. The balancing aspects of my piece, “The Problem “are called “The Cure”.
“The Cure” consists of two pieces. We created a small 8ft circular Mandala Healing Garden that is growing medicinal herbs and herbal healing plants. It is located at our new community Art House. The second part of “The Cure”is a Mahogany panel that will be one of the doors for our Art House. This panel illustrates the Divine power in trust,faith and honor as we move positively forward.


Coinciding with the Stateless biennial, we have began creating an Art House in our community.  We plan to showcase and sell works created in and by our community,  share information and  skills about art and other pertinent issues, establishing our way forward. We have made wonderful growth since we began work in April 2021 to complete the structure.


This is our sustainable cure. It’s growth is organic,encompassing and amazing. In this beautiful and exciting new space, we have new hopes and a new breath. I am hoping that we will grow positively stronger with collective accion and that this initiative will enrich our community.

Ken Fabian Doorson


Creating new or existing forms or objects in nature or open spaces, whereby a balance is created between the changes that take place when we intervene. I want to create a new landscape in order to capture our identity at the same time … A floating hexagonal platform with the terracotta heads.

Robbert Enfield


My painting represents a person that is been attacked by many persons. This person has been disliked by others and is no longer welcome in the community. This person feels as if her/his life has been challenged in such way, that she/he might end up weak and helpless. Walking on the road becomes impossible.

In this painting I drew hands that are coming from nowhere, attacking the person. It can be very different kind of people, who are involved in the attack. Sometimes your own race may not like you, than how about other races.





Fact to the matter is that one is supposed to get help from one’s black brother or white sister (one’s own race).


The colors that I use represent violence in any kind of way. The red-orange in the background. You will find also a facial expression, due to the violent situation, in this matter. The dark blue or maroon represent sadness and hard times. I used gold, dark brown and black colors. These colors (of the hands) represent different kind of races.


Glass Bead Gel, Cork, Wood Glue and Acrylic Paint on Canvas.

Dwight Ferguson

The Bahamas

The “Circle of Hope” installation began with inspiration of collecting abandoned chairs. These chairs were dislocated ,displaced ,in disrepair and stateless without a voice. A circle is formed with the stateless chairs and four chairs were selected from the pile and with the hands of hope they were scraped, striped, sanded, painted and reassembled. These four chairs now form the inner circle on a bed of green grass with the sculpture the “Circle of Hope” as the center. The transformed chairs represent hope. Hope is the key as you journey through your statelessness and hope will allow you to put your stake down and make a statement.

Lemero Wright

The Bahamas

Imagine being stuck in a situation where their is no help in sight,only a mangrove to grant shelter. Mother nature has her way of presenting obstacles and solutions to see you thru.
A father and son divided from the land wethering the storm until it ends.
Hopeless, stateless no identity or status.

Moya Strachan

The Bahamas

As an artist I recreate the natural beauty I see in our tropical Islands and the showcase the culture of the Bahamian people.  My artistic style is realistic, abstract and surrealistic. I enjoy promoting and celebrating culture and educating and developing the artistic skills and creative talents of the people.

The Collaborative Sculpture and Paintings: Description of the Final Piece

The sculpture created is a huge Poinciana tree. (By Moya Strachan) The roots are designed with an abstraction of the Haitian Coat of Arms from the Haitian Flag. Some roots are also painted black and aqua,  representing our shared black African Heritage. The tree was painted with the colors of the Bahamian Flag with two black stateless faces looking upward with the hope of a place to belong. The sunshine in the middle is the presence of God in the midst of the struggles. However, the branches are golden yellow in the center of the tree and aqua blue on both sides representing the beautiful clear water surrounding our islands.


The spaces in the middle of the branches and at the top of the tree are filled with the paintings and images by my former art students. The face in the middle was painted by Widlene Guillaume and the two on the sides were by Elie Honouree. More pieces are to be added and the branches will be unfolded and stretched to all the pieces to bring unity to the piece. This is project will continue with an exhibition of pieces on this theme.

Allia Dean

The Bahamas

My Statement: Utilizing my diverse skillset of art, architecture and marketing to increase awareness of statelessness by redefining discarded material, empowering collaboration and community engagement with a resourceful and sustainable focus. This was done by creating a replica of the Caribbean Woman with three primary discarded materials – the Bahamian Penny, Styrofoam and shredded banknotes donated by the Central Bank of the Bahamas. A 3-tier color awareness legend for statelessness incorporating the three colors of the Bahamian Flag  jewelry campaign entitled “You Count” was created consisting of unisex bracelets, earrings, and necklaces of the same material.

Black representative of MIGRATION Statelessness Awareness

Gold representative of CLIMATE CHANGE Stateless Awareness

Aquamarine representative of IMPACTS OF COVID-19 Stateless Awareness

It is my hope that these pieces of art when worn will continue the conversation around the global issue of statelessness and bring about awareness that foster change, championing the initiative to mitigate challenges around this cause. Part proceeds will be donated to I.C.E  and similar centers to further pioneer collaborative expressions especially among Caribbean women.

Collaborative Statement: Human connections are no coincidence but in fact divine order. When three young women came together in a breakout room, a scalene triangle connection was born. ‘‘Embracing Caribbean Connection through feminine empowerment in the Arts’’ became their new purpose. With Allia to the far north (Bahamas) and Precious to the far south (Guyana) and Vanessa in the central region (Dominica) of the Caribbean. With different disciplines and mediums of the art forms and expressions, they were able to find that pivot point, to collaborate across the Caribbean community.

This collaboration will allow our expression to be a platform for advocacy, awareness and raising funds for persons impacted by statelessness with a primary focus on the youths – eradicating the negative connotation of the phrase, “triangular trade” among Caribbean people going forward to a positive one. This concept of our project will be expressed through a line of products, which will be packaged and sold as one. A percentage of the proceeds will be donated towards a positive change in the lives of those affected and to carry out various awareness campaigns.

Kevin Rolle

The Bahamas

My art work promotes: community resilience, preservation and networking.I wish to bring awareness to the diverse ethnicity, cultures, ingenuity, gifting and how collectively they will form the foundational layer of a healthy nation.


My work is entitled “Anchored of  hope” is a mix media three dimensional piece. It features a hibiscus flower, a flamingo, a queen conch shell and a rope with an anchor in the foreground. The background with the segment parts speaks of a partially broken society due to statelessness.The white hibiscus flower speaks of blooming in the midst of a crisis. The flower uses its influence to create beauty, identity and inspiration like a waving flag is to a nation. The hibiscus flower is able to attract with its aroma and aesthetics. The flamingo represents resilience and Grace of the Caribbean people. It has the ability to migrate and adapt to new environments, build and dwell in unified flocks. The queen conch embodies beauty, durability and innovation.


It’s hard shell layers provides resistance and Defence against strong surges and the elements. While experiencing irritation the queen conch has ability to produce precious pearls. The foreground features a ropes with nails symbolizes a healthy community in collaboration networking together creating an anchor of hope that, preserves, stabilizes their nation against statelessness.

Emmanuel Pratt-Clarke

The Bahamas

Emmanuel Pratt-Clarke (Emmanuelaopc) is an artist from Little Exuma. Trained at the University of Illinois, Urbana-Champaign, He primarily makes oil paintings, murals, and mixed media collages with a focus on environment and landscape. He developed the practice of painting outside on location (en plein air) while studying at Marchutz in Aix-en-Provence, France. In his paintings he works to find new ways of mapping and representing the beauty of our world, particularly the islands of the Bahamas.  His hope is that when people view his art they recognize the complexity and abstraction of what exists in nature and leave with a greater appreciation of our surroundings. His work is held in private collections in the United States, France, and The Bahamas.

Sonia Farmer

The Bahamas

“Indelible” is an online archive of oral histories documenting individual experiences navigating intersections of Bahamian identity and citizenship laws, especially as they relate to articles 8, 9, 10, and 14 in the Bahamian constitution, which outline who is eligible for citizenship and who is provided protections against discrimination.Through touching on themes of statelessness, citizenship, nationality, and discrimination, the project aims to illustrate their shortcomings and antiquated customs, exposing the ephemerality of nationhood and making fluid and permeable the hard boundaries of the nation and its citizenry.


Conversations are initiated via invitation and submission, and conducted either in person or online. They are then lightly edited and shared in the online archive. Each interviewee is also invited to complete a blank voter’s card however they would like, providing a visual anchor for the project. These altered voter’s cards are displayed on the home page as an online gallery—selecting one leads the visitor to the page of the participant containing an audio file of their oral history. These voter’s cards are a continuation of a series of pieces I have made in response to two ineffective gender equality referendums using election materials and processes to expose their inherent failure to bring about equality in citizenship and discrimination protections in law.



The name of the project, “Indelible”, draws from the property of the ink used to mark a voter’s thumb after they have cast their vote. Unable to washed off, it helps to avoid electoral fraud. A tool of order and ritual of democracy, the ink is also an outward mark of constitutional right—a simple signifier for the citizen.


A word with concrete implications, “indelible” can also be used to describe abstract or conceptual impressions. It is something unable to be forgotten—committed to memory. Out of sight, not out of mind. In this way it remains ineffaceable. It is in this liminal space I center these stories of citizenship, a concept with both tangible (passports, permits, visas, and other government-issued identifications) and intangible meaning, to probe the complexities of identity and belonging. This is why there are two parts: a tangible object (voter’s card) and a record of the intangible experience (oral history).


I foresee an opportunity to grow this platform into an educational space where free resources can add context to the project in order to more deeply understand the two gender equality referendums and the historical and contemporary impacts of feminist and LGBTQI Bahamians. Ultimately I hope this archive can be an educational tool of compassion and awareness to help its listeners find personal connections, and that it can call attention to the very critical need to adjust our laws to protect every single Bahamian’s birthright to belonging and safety.

Vernelle A. A. Noel

Trinidad & Tobago

“We Are (In)Visible”


This piece is a wire-bent sculpture of a face with recognizable features. One side of it is partially open and one of the eyes is red and sheds a tear to denote pain and hurt. Pain that we inflict on others, and pain we carry within ourselves. Behind the wire face there is a mirror. Viewers will look at the piece and try to see themselves in the mirror but their view of themselves will be distorted. They will only see themselves by acknowledging the pain of another, i.e. the sculpture. This pain looks directly at them and reflects them. They must search to find a clear reflection of themselves through the sculpture and cannot turn a blind eye to the pain of violence. It takes work. Viewers will bend, twist, and shift their bodies to find a way to see themselves clearly. They must do the work.


Spotlights cast shadows of faces on the walls. These shadows make visible the invisible pains we inflict on ourselves, others, and our communities because of our violence. These harrowing effects which may appear invisible, are materialized in shadows, they look back at us, asking that we reflect on how we contribute to such violence, and ACT. The reflection of ourselves in victims, and the shadows of pain that we inflict and carry.

Johann Medford & Arnaldo James

Trinidad & Tobago

This work interrogates the impacts of statelessness on Amerindian and LGBTQI peoples in the Caribbean. Looking at the intersections of exclusion, safety, identity, belief and climates to deepen consciousness about the effects and the drivers.


Encouraging peaceful action from audiences privileged with state safety, North Eleven seeks to empower Caribbean Amerindian peoples and the Lesbian, Gay, Bisexual, Trans, Queer and Intersex (LGBTQI) community. We take this action because these peoples are adversely marginalised and endangered by the climates of miseducation, violence and environmental change permeating the region.


Amerindian people have faced much documented difficulty since their earliest encounters with coloniser forces, matters of wellbeing; political participation; and land access remain disadvantageous. Additionally, as climate change threatens the prosperity of this community – largely fuelled by the same nation-states of coloniser forces – we continue the work of Amerindian visibility, opposing falsehoods and effecting support.


Recognising the Caribbean LGBTQI community experiences forced migration due to targeted violence. That targeted violence is experienced on journeys to safety within and out of the Caribbean. That this violence takes forms including and not limited to: inadequate state protection from physical, emotional, economic and political harm; social environments of discrimination; and the negative impact of climate change on this community’s wellbeing. We at North Eleven work on expanding solidarity to make the Caribbean safe for all who traverse and reside here.


Our artwork is multidisciplinary combining animation; video; installation structures; digital projection; and interactivity mechanisms. We invite the public into a participatory environment that nurtures ally-ship for impacted persons and communities.
Arnaldo James, Johann Medford, Samantha Farmer, Aleem Baksh and Mathew Mungal are the artists creating via the name North Eleven.

Fitzroy Hoyte

Trinidad & Tobago

Fitzroy Hoyte is a Visual Artist and Mentor born in Trinidad in 1978. His connection and exploration with art commenced at the primary level at Newtown Boys’ R.C School. Subsequently, Mr. Hoyte then continued his formal institutional education at the Belmont Boys’ Secondary School during the years 1991-1996. Mr. Hoyte completed his secondary education with the acquisition of a Distinction in Art.


Additionally, Mr. Hoyte also studied Drawing & Painting at the John S. Donaldson Technical Institute, tutored by now-deceased artists Pat and Lisa Henry Choo Foon. Hoyte was also involved in the Art Development Programme at Studio 66 Art Support Community, tutored by Makemba Kunle. For a seven-year period, he worked and learned as an apprentice to Artist Leroy Clarke, while simultaneously continuing his training at the Dunross Advertising Training and Recruitment Centre. Hoyte graduated, receiving a certificate of achievement in recognition of successful completion of Communication Design and an Advanced Certification in Computer Graphic Art.


Over the years he has enhanced, perfected, and developed his fundamental painting skills and has exhibited works both regionally and internationally. January 2017 launched THINKARTWORKTT Studio @63 Carlos Street Woodbrook POS. The initial intention was to focus on the needs of the local artist, the vision expands into the development of an international residency programme. THINKARTWORKTT Studio has blossomed into a creative interactive environment providing artistic, educational and gallery services to the population of Trinidad and Tobago, located #11 Cipriani Boulevard, POS.


Who am I is intended to serve as a prototype for a grander series which can evolve into a three dimensional installation or interactive mural. The vision is for the work to be three dimensional as I believe that individuals must have the opportunity to interact with the piece on a more intimate/personal level as opposed to viewing a two dimensional piece on a wall. I believe that this method of presentation both artistically and psychologically stimulates change and cultivates purposive conversations which aim at seeking resolutions for issues which we experience.


In terms of the materials utilized within the piece it’s all mixed media yet everything has its respective purpose and source. The process of obtaining the stones, sea glass bottles is a natural process which usually happens when I venture to the beach or the river with my son. We share a moment where we collect these objects as I believe they are gems and therefore serve a useful purpose. The idea of repurposing is important to me as I believe that there are many things which people discard which can be recycled and reused. Thus, I am constantly challenging myself to repurpose what someone may consider as trash or waste into a piece of art. I see this process as a metaphor which parallels us as humans and our personalities. There are traits of our countenance which may be deemed as ‘trash’ or ‘bad’ but we can use these same characteristics or feelings to create good out of it.


Hoyte states:
If you are not protecting the Art you are not protecting the future
Creativity is key….
Knowledge is key…..
Creativity heals us
Painting is a visual language ….
Language of lines: drawing can set you Free
I use my art to fight for what I believe in
Every piece of art has a story and every artist has a name.

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