What took me by surprise back then, and what I tried to articulate in my answer, is that I was surprised that someone would be surprised that someone “with my background”, angry with and personally hurt by colonialism and slavery, could have an affectionate relationship with Dutch paintings from the 17th century. And yet, I feel at home with Pieter de Hooch’s The Country Cottage. I also feel at home at Paramaribo’s Waterkant. Both places pull me in with equal intensity, as if by teleportation. Both emotions: affection and anger towards two opposite phenomenons from one and the same historical period do not rule each other out, they coexist. Inside me there is no opposition. There is no true opposition.
Looking for rebels in Surinamese art
It is clear that many people in Suriname not yet fully realize that artists can only arrive at great results by stepping out of comfort zones. By venturing into the unknown. We should be proud of what these free spirits offer us, and we truly believe that societies can greatly benefit from their artistic gifts.
Therefore we think that releasing their inner rebel might be sound advice for art lovers too!
Chandra van Binnendijk and Marieke Visser on art in Suriname.
First published: July 7, 2016
Marcel Pinas: more than an artist
When he left (the Edna Manly College in) Jamaica, he knew he wanted to support the creativity of young people in particular and give them the opportunity to be self-sufficient. He knew he had to come up with projects that do justice to the Maroon culture. In doing so, he had to involve the population of the region as much as possible.