Artist, performer, teacher and community builder Vivien Elizabeth Armor talks to Shelly-Ann Inniss about her journey in art and what she hopes to achieve with her new creative studio in Cascade, Trinidad
When did you know you wanted to be a professional artist?
Both visual and performing arts have played a large role in my life. I have always had an appreciation for painters and was drawn to the bold styles of Frida Khalo, Basquiat and Van Gogh from a young age. I was also very fortunate to have grown up surrounded by the incredible works of Peter Doig, Boscoe Holder and Sundiata, to name a few, and was encouraged to follow my heart.
I initially focused on theater and singing as my primary mediums—earning a theater degree from the American Academy of Dramatic Arts in New York and pursuing a film career in my 20s in Canada—before pursuing painting, sculpture and the installation. Through my degree at Emily Carr University of Art & Design, I fell in love with the process of creation. And the more I was exposed to the world of modern art, the more I fell in love with painting and sculpture as a way to explore and communicate with the world.
Which art museums do you like the most?
Whitney in New York, as well as Tate Modern in London. I could spend hours in those spaces. I love getting lost in the Monets and getting energized by the installations. I also spent a lot of time at the Gallery of Contemporary Art and the Vancouver Art Gallery when I lived in Canada. Kim Dorland is a huge inspiration to me with his vibrant and dynamic work. And I never miss a James Turrell exhibition if I’m lucky enough to be in a city where he’s showing. I like work that is experiential. I’m also a big fan of Impressionist paintings, so the Musée d’Orsay in Paris is one of my favorites.
Recently, I visited the National Gallery in Kingston, Jamaica, which is incredibly rich in its collections… Leasho Johnson, Richard Natoo, Katrina Coombs’ textile and sculptural works floor me every time. But what inspires me the most is traveling and visiting new places with all their textures, smells, colors and narratives. At the top of my list are Portugal and Japan.
How would you describe your art practice?
I’m fascinated by ritual and ceremony and how that happens in different cultures—the way the earth and the body find symmetry and dissonance, the ways in which we seek understanding. Many of my painting and installation works are situated in this in-between, focusing on ideas of belonging, non-belonging, and embodied catharsis – juxtaposing a kind of alien hypersaturation with natural materials and processes.
I often incorporate elements of Caribbean folklore and mythology into my paintings, while also bringing in elements of my international upbringing. I was drawn to ceramics because of the tactile experience of working with clay and create a range of pieces including functional objects and sculptural objects. I get a lot of inspiration for my ceramic work from the colors and textures of nature, and I enjoy working with different glazes and firing techniques to achieve unique and visually interesting effects.
As my work evolves, I am increasingly fascinated by entropy and permanence, which I would like to explore through workshops. My minor is in Social Practice and Community Engagement, and I am drawn to working with trauma healing through art, which I believe is deeply needed in our postcolonial context.
What prompted you to establish Vivien Elizabeth Creative Studios?
My practice has been mainly focused on teaching for the past few years. I founded Vivien Elizabeth Creative Studios with the goal of creating a welcoming and inclusive space for artists of all skill levels. I offer a variety of resources, from painting, pottery and glazing equipment and materials, to basic woodworking resources. There are open studio times, workshops, team building activities and networking opportunities. Witnessing my students discover their creative potential and create something unique is incredibly rewarding. Teaching art is as essential to the industry as creating your own work.
What’s next in the pipeline for you?
I plan to expand to offer a co-working space because artists should be able to have a dedicated space to work and create. A sense of community is essential, so expect regular events such as artist talks, exhibitions and social gatherings that bring people together. I hope to connect with more organizations and institutions to foster relationships with artists across the region as well, to promote artist residencies and exchanges.
With renewed energy and inspiration from being back in the Caribbean, I am eager to explore new forms of expression and delve deeper into my artistic practice. I am currently working on a new body of work that will explore the hybridization of my painting worlds with my sculptural work.
