Fresh Takes on the Caribbean

Large tapestry featuring colorful woven saris and metal bells

Suchitra Mattai’s 2022 An Ocean Cradle  |  COURTESY OF SUCHITRA MATTAI AND ROBERTS PROJECT, LOS ANGELES

The multimedia exhibition “Forecast Form: Art in the Caribbean Diaspora, 1990s-Today,” at the Institute of Contemporary Art, Boston, through February 25, opens with a bold tapestry. From across the room, Suchitra Mattai’s 2022 An Ocean Cradle could be a textured map of land, clouds, or shifting migrants’ routes. But up close, viewers discover the intricately woven fabrics (pieces of handmade saris collected from friends and family) amid clusters of ghungroo bells worn in classical Indian dances. This artwork is a painstaking, strand-by-strand construction. And it speaks to a core theme of the show: expanding perceptions of this complex region of more than 700 islands. The works of 28 artists illustrate that “the Caribbean” is not bound by “geography, language, and ethnicity,” exhibit text explains, but is a diasporic entity engaged in “constant exchange, displacement, and movement” where “the past, the present, and the future meet.” It’s a region marked by oceanic tides of shifting colonial powers and struggles for independence amid waves of populations—just as Mattai’s ancestors traveled from India to what’s now Guyana to become indentured servants on sugarcane plantations.

Men swinging gas hoses
From Christopher Cozier’s 2014 video Gas Men/COURTESY OF CHRISTOPHER COZIER

Christopher Cozier’s 2014 video Gas Men features two businessmen whirling gas pump handles like cowboys gearing up for a rodeo. It evokes the multicultural influx and global economies, like oil extraction, and associated cultural hierarchies that have affected the Caribbean’s development. In his acrylic and wood carving Cursed Grounds: Cursed Borders (2021), Haitian-American Didier William highlights a bifurcated surrealist landscape—the uprooted, dying trees above ground, and the vitality of running, amorphous animals below—in the age of climate change and migratory movements. In Lorraine O’Grady’s photograph The Fir Palm (1991/2019), a slanting tree, a blend of a New England fir and Caribbean palm, grows from the back of a black woman, evoking the artist’s first-generation experience growing up in America with Jamaican immigrant parents. These shared Caribbean roots sprout trees and creativity across the globe. 

Read more articles by Nell Porter-Brown

You might also like

How Do Movies Use Music?

Producer Robert Kraft discusses cinematic audio.

Five Questions with Captain Shane McLaughlin ’25

Learn about the 150th captain of Harvard football.

Harvard Football: New Season, New Coach

The 2024 Crimson preview 

Most popular

How Do Movies Use Music?

Producer Robert Kraft discusses cinematic audio.

The Goodness of Being Together

Why social interactions are as vital as food and water

The Complete Works of Du Fu, China’s Shakespeare, Published in English

Conant University Professor Stephen Owen spent 10 years translating the poet’s 1,400 surviving poems.

More to explore

Learning the Trees of North America

A monumental new guide to North American species

An Underknown Twentieth Century Realist Artist

Brief life of an American realist artist and critic: 1907-1975

Susan Farbstein on Human Rights Law

Human rights lawyer on law’s ability to promote justice—and shape public understanding