Spelunkin’?

-Michael Johnson

 Spelunking: n. The sport or pastime of exploring caves

For the sake of this discussion, however, Spelunkin’ refers to a one night installation event crafted by Jonathan Murray and Natasha Turnquest.  It is worth clarifying that Spelunkin’ is not an “art” exhibition, nor an “art” sale, it is what one might refer to as an “art” “happening”, an installation work meant to be experienced and departed from, a notion far different to the one that the general public might conjure when considering an “art” event.  On the night of the happening, viewers were allowed to enter the space in groups of not more than three at a time; each viewer was provided with a flashlight with which to view the space, which was completely darkened.

Upon entering the space one encounters a series of squares painted onto the floor. The squares are roughly 2 feet across and they are organized so as to resemble a board game or perhaps an intricate form of hopscotch. Many of the squares contain messages, glyphs or other additional elements.  It takes only minimal examination to determine that each of these elements bear some relation to the notion of “art” making in the Bahamas. Phrases like “I failed math so I decided to go study art” and “Doctors are smart, Artists are Talented” are fairly obvious in meaning and their intended tongue-in-cheek jabs at artistic self-deprecation.  Among these thinly veiled lamentations are references to sexism, racism, homophobia and censorship. Less obvious are the messages reading “Are you trying to sell art illegally…beware” and “Paint by jonthan mury” These inside jokes are apparently directed at a choice few of the artistic literati of the Bahamas and not meant for the casual viewer. 

Suspended across the entire room above the viewer is a horizontal wall of chicken wire mesh that supports sheets of newspaper arranged to cover all openings and effectively “entrap” the viewer. The low height of this assembly impacts a certain claustrophobic sting to the space, particularly should ones hair become entangled in the wire mesh. The dual icons of the wire and the newspaper juxtaposed in this manner trigger certain associative interpretations and generate a sense of being confined by the society the newspaper represents.

But what does it all mean? Aside from the obvious statements and conceptual gestures, what’s the point of Spelukin’ and why should anyone care?

If nothing else, Spelunkin’ is different, at least for the Bahamas. Artistic happenings such as these, though prevalent in other parts of the world are in short supply in this country. The drive of the happening seems very much aware of this limit as the invitation to event states a desire to “redefine art by redefining context.”  In taking on such a task perhaps the artists are to be commended, for their willingness to take a chance on their idea if nothing else.  That aside, the event that was Spelunkin’, while possessing an evident and coherent thought process and a tangible union of media and message, leaves something to be desired. 

It is evident in the content of the work displayed on the floor that the work seeks to discuss the societal constructs around “art”, and all its associated accouterments in the Bahamas. The manner of broaching this subject, with the use of icons and textual references, seems (to a degree at least) cast in the ilk of works by Dionne Benjamin-Smith thought it lacks her refined quality.  The subject matter, pertinent though it may be, is diluted by the manner in which it is addressed. The sheer volume of “complaints” leveled against artistic society makes it difficult to consider any individual thought.  This is unfortunate because many of the ideas expressed show careful consideration in both their conceptual relevance and in the manner of their expression.  The way in which the ‘thought squares’ (as opposed to the empty squares) are arranged on the floor, seeming very ad hoc, makes it difficult to consider them in any sort of narrative or thought progression.  This combination of dilution and limited connectivity makes the part of the installation on the floor feel rather unrefined. Rather than reading as a complete piece meant to conjure discussion, it feels like a “me too” attempt at social commentary that stems more from a creative angst than a carefully considered critical standpoint. 

The suspended chicken wire fence/newspaper part of the installation is somewhat deceptive in its simplicity. The visceral effect created by the imposing low height and the surprisingly harsh metallic quality of the wire mesh is difficult to ignore. The manner in which the wire affects the viewer’s movement through space and thus the viewer’s interpretation of the other elements within the space, suggests a firm grasp of the understanding of the subtleties of human spatial relations. It is difficult not to infer a certain intuitive quality to this understanding, perhaps given the age of the artists or perhaps because of just how visceral the reaction to this part of the installation is.           

Spelunkin’ is (or perhaps was) in short, a somewhat impudent comment that exists as part of a large and growing discussion of the definition of Bahamian “art”.  Its willingness to engage in this conversation in the manner the artists chose, is testament to a slowly changing view among certain factions of the artistic community of what may be included under the banner “ART”. While the evidence of this change, this willingness to expand our collective definition of what “art” is, is encouraging, perhaps -in the case of Spelunkin’-it comes at the too-great cost of alienating the Bahamian public. While it is painfully true that many of our people remain rapt in artistic movements that rose and died over a century ago it is probably unfair to challenge their perceptions in such a display of what I can only call chutzpah.  

For the reasons I’ve discussed I cannot call Spelunkin’ a success, but I believe it bears the smatterings of success in the making. The dedication evident in such an undertaking, one with great cost and no financial reward is, I believe, enough to set both Mr. Murray and Ms. Turnquest apart from not only their peers, but a great many of their seniors as well.  While it remains to be seen what is to become of  “ART” in The Bahamas, there is little doubt in my mind that these two “artists” will be very much a part of its journey.