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Green House Label_345C2BA4_E5E3_002D_41EB_7D1CEF781C3B.text = Terryl Godoy - Green House Label_0139FC97_1F31_64BA_41B6_8543B72D925C.text = Toggle Fullscreen Label_0139FC97_1F31_64BA_41B6_8543B72D925C_mobile.text = Toggle Fullscreen Label_A262D2E3_8CD5_3502_41D9_3E529A46881D_mobile.text = Toggle Icons Label_A262D2E3_8CD5_3502_41D9_3E529A46881D.text = Toggle Icons Label_063122E0_1F37_5C96_418C_453BE7915796_mobile.text = Twitter Label_063122E0_1F37_5C96_418C_453BE7915796.text = Twitter Label_80CF27A4_E888_97CB_41E5_5FAC66268059_mobile.text = Untitled Label_1C73CC79_2130_FB87_41BA_F66F550C8A7F.text = Valerie Penner Label_1C73CC79_2130_FB87_41BA_F66F550C8A7F_mobile.text = Valerie Penner Label_BBB481E3_DF57_D2A2_41E2_A742CB316935_mobile.text = Valerie Penner - Lisa’s Deception Label_BBB481E3_DF57_D2A2_41E2_A742CB316935.text = Valerie Penner - Lisa’s Deception Label_1841FFEC_3D16_3B6E_41A9_AA1DF34C58BE_mobile.text = Video Label_1841FFEC_3D16_3B6E_41A9_AA1DF34C58BE.text = Video Label_4F524C08_16CB_0276_4169_FDA4BC512610_mobile.text = Virtual Tour Loading... Label_4F524C08_16CB_0276_4169_FDA4BC512610.text = Virtual Tour Loading... Label_7B54057C_F8BA_7B01_41D0_B5AFB04EC6F3.text = Visit The Museum Label_7B54057C_F8BA_7B01_41D0_B5AFB04EC6F3_mobile.text = Visit The Museum Label_035ABFB5_1F72_E4FE_4160_FA336F26DF7C.text = WhatsApp Label_035ABFB5_1F72_E4FE_4160_FA336F26DF7C_mobile.text = WhatsApp Label_1C702226_2110_4F8D_417B_31784C702DD0_mobile.text = Winsom Winsom Label_1C702226_2110_4F8D_417B_31784C702DD0.text = Winsom Winsom Label_B5E302F6_DF73_36A2_41C2_E3242B1542A3.text = Winsom Winsom - C, Sea, See Who Is The Future Of Belize Label_1E9D9DA2_2110_3485_41B2_4A764FC20A73_mobile.text = Yaoling Lee Label_1E9D9DA2_2110_3485_41B2_4A764FC20A73.text = Yaoling Lee Label_BB2733E9_DF71_D6AE_41DF_388C7EE5F70A_mobile.text = Yaoling Lee - Nocturne Label_BB2733E9_DF71_D6AE_41DF_388C7EE5F70A.text = Yaoling Lee - Nocturne Label_3C1D91C1_E5DF_0067_41C6_42BA78505E5A.text = Yasser Musa Label_1F40C3EF_2170_4C9B_41B6_DD07B7773878.text = Yasser Musa Label_3C1D91C1_E5DF_0067_41C6_42BA78505E5A_mobile.text = Yasser Musa Label_1F40C3EF_2170_4C9B_41B6_DD07B7773878_mobile.text = Yasser Musa Label_3C1C51C0_E5DF_0065_41E9_0A3E429877B5.text = Yasser Musa - Yellow Motherboard Label_3C1C51C0_E5DF_0065_41E9_0A3E429877B5_mobile.text = Yasser Musa - Yellow Motherboard ### Multiline Text HTMLText_1538B2BF_E2E3_001B_41D5_239700E049C1.html =
Katie numi usher - I tried to help you. you're
impossible!! well thanks for your
minimal effort i guess.


Stitched fabric
Variable size
2023
HTMLText_87550C5F_DF77_D1E2_41C7_168186515179_mobile.html =
Jeanne Bennett - Mother and Child
HTMLText_83AE7C09_DFB7_716E_41A8_DDBAB8757F5E_mobile.html =
Nelita Marie Sambula Doherty - In The Midst Of Mystery
HTMLText_932EFCF1_DD53_52BE_41E8_E6B021A7773A.html =
Acrylic On Board
64 x 49 cm
1992
HTMLText_85B46D22_DF53_53A2_41C1_645BDA341E08.html =
Acrylic On Canvas
115 x 90 cm
HTMLText_8AE0FEBE_DF73_2EA2_41DA_961BD7AED287.html =
Acrylic On Canvas
119 x 83 cm
2002
HTMLText_BF0F1E7C_DFD7_31A6_41E9_6076E281D527.html =
Acrylic On Canvas
30 x 40 cm
2023
HTMLText_81B23F92_DF6F_2F62_41DC_0EFCA0F47E09.html =
Acrylic On Canvas
41 x 50 cm
1992
HTMLText_8FAA39F9_DD53_52AE_41E1_22831D490154.html =
Acrylic On Canvas
43 x 44 cm
1999
HTMLText_3B2CBC4B_E223_007B_41EA_29FD4EB8F53A.html =
Acrylic On Canvas
50 x 50 cm
1995


HTMLText_817F55AC_DFAF_F2A6_41AF_369A6245D0CD.html =
Acrylic On Canvas
50 x 75 cm
HTMLText_80BD12F5_DF53_D6A6_41C8_D9C511D947C1.html =
Acrylic On Canvas
52 x 86 cm
HTMLText_8AB78173_DF76_D3A2_41D9_286C8518E2D2.html =
Acrylic On Canvas
55 x 63 cm
2017
HTMLText_345B2BAE_E5E3_003D_41DE_3AD58CDC2FD0.html =
Acrylic On Canvas
60 x 50 cm
2001


HTMLText_E6141B19_DCD3_776E_41E2_67314E01352E.html =
Acrylic On Canvas
60 x 78 cm
HTMLText_87550C5F_DF77_D1E2_41C7_168186515179.html =
Acrylic On Canvas
63 x 81 cm
2004
HTMLText_83FF8735_DFBF_3FA6_41DE_D0EE70E843A5.html =
Acrylic On Canvas
66 x 48 cm
2007
HTMLText_B93E9E72_DF51_D1A2_41E7_CC0F3D2137FD.html =
Acrylic On Canvas
68 x 99 cm
HTMLText_888EB0C4_DD53_32E6_41E9_0FACAFA561B0.html =
Acrylic On Canvas
75 x 101 cm
2013
HTMLText_07C271A3_E26F_002B_41B9_B57CDD3B37F3.html =
Acrylic On Canvas
78 x 101 cm
2004


HTMLText_154553E0_E261_0025_41BE_DF40DD213386.html =
Acrylic On Canvas
86 x 66 inches
2014


HTMLText_039479A9_E227_0027_41EB_C77100C3DE40.html =
Acrylic On Canvas
Variable size
2000


HTMLText_0B311AA2_E261_0025_41E8_5DBACD562E45.html =
Acrylic On Paper
30 x 22 cm
2002


HTMLText_0644C995_E22F_00EF_41E9_1EDD90967173.html =
Acrylic On Wood
48 x 55 cm


HTMLText_8A2CA7C1_DD7F_3EDE_41C1_AB13883975F9.html =
Acrylic On Wood
60 x 167 cm
2009
HTMLText_347119CA_E5E1_0065_41AF_6A2E78725DEC.html =
Acrylic on Canvas
50 x 41 cm
2004


HTMLText_3CEC88CB_E263_007B_41E4_B7F63CB668ED.html =
Acrylic on Canvas
53 x 68 inches
2009


HTMLText_BAC18701_DFB1_DF5E_41D5_4DF60B8051E4.html =
Acrylic on Canvas
61 x 51 cm
HTMLText_83AE7C09_DFB7_716E_41A8_DDBAB8757F5E.html =
Acrylic on Canvas
71 x 55 cm
2004
HTMLText_0333E121_E263_0027_41D2_EBD613BF2A56.html =
Color pencil and pencil
91 x 152 cm
2009


HTMLText_1BA9D0EE_E221_003D_41D9_97722E16B94F.html =
Cotton, Wool, Thread, Fabric and Burlap
52 x 46 cm
1995


HTMLText_80C90930_DFD1_33BE_41E4_719F3D749A4E.html =
Digital Print
20 x 27 cm
2008
HTMLText_8C71CC81_DD6E_D15E_41E9_3B311255AA8F.html =
Digital Print
30 x 45 cm
2020
HTMLText_1CCB8C89_E221_00E7_41BA_B63D390F1B12.html =
Etching On Paper
90 x 107 cm
HTMLText_3DA17901_E621_01E7_41E4_4143FBDFE9A9.html =
Flint stone
Variable size
2021


HTMLText_8AC1ED7C_DF72_D3A6_41E1_3A33A68196DC.html =
Ink On Paper
39 x 26 cm
1993
HTMLText_1F9D7A11_E261_03E7_41E3_C22DF0F8724A.html =
Ink on paper
60 x 45 cm
2016


HTMLText_164FBA49_E261_0067_41E0_1F07D074406D.html =
Mahogany Wood
29 x 52 x 36 cm
2023


HTMLText_B6B8E003_E221_1FEB_41B8_ABDB7CC0C656.html =
Mahogany Wood
91 x 20 x 40 cm
1980
HTMLText_BBB521E8_DF57_D2AE_41DB_28EB1EDC2E9D.html =
Mixed Media On Canvas
71 x 61 cm
2014
HTMLText_1329199E_E261_001D_41D5_4D02CAEB482A.html =
Mixed Media On Wood
47 x 33 cm


HTMLText_BFD731E7_DFF6_D2A2_41E7_700A1A208DAD.html =
Mixed Media on Canvas
40 x 50 cm
HTMLText_8A94386A_DF71_F1A2_41CC_99FAF1F65D4E.html =
Mixed Media
60 x 33 x 81 cm
2000
HTMLText_BD03C151_DFD1_D3FE_41C7_540F4F16E71C.html =
Mixed Media
66 x 52 cm
HTMLText_3335B5DF_E5E1_001B_41B5_7E13BF7E4BAE.html =
Mixed Media
Variable Size
2001


HTMLText_19DF08D9_E223_0067_41E0_F8716702ECAE.html =
Newspaper Mannequin Board
112 x 38 cm
2013
HTMLText_BB2FA3ED_DF71_D6A6_41E4_FA3519A1820B.html =
Oil On Canvas Board
20 x 30 cm
2023
HTMLText_3829A3DB_E221_001B_41D9_FF201627FD13.html =
Oil On Canvas
120 x 99 cm
2008


HTMLText_8F5C2A3E_E3E1_001D_41EB_6CCB4B574AD9.html =
Oil On Canvas
147 x 96 cm
2003
HTMLText_04B7B10E_E221_01FD_41DF_443D972C8C8E.html =
Oil On Canvas
71 x 59 cm
1992


HTMLText_06CF2628_E261_0025_41DD_DC3395D7ED8E.html =
Oil On Canvas
73 x 63 cm
1989


HTMLText_B8088DE6_DFB7_D2A2_41E7_01E471F1F4AA.html =
Oil On Canvas
88 x 71 cm
HTMLText_3C1E41C3_E5DF_006B_41C1_DE64F655EAE4.html =
Oil On Object
18 x 22 cm
2023


HTMLText_15A1F7E5_E223_002F_41E7_5E9C0C7BD16F.html =
Oil Pastel On Sandpaper
22 x 22 cm
2000


HTMLText_BDE0A21D_DFD3_D166_41E2_0FFE0E7C99ED.html =
Paint On Wood
38 x 43 cm
1984
HTMLText_BC1614BB_DFF1_52A2_41E9_5441EA0C884A.html =
Pastel On Paper
35 x 38 cm
1988
HTMLText_84DB6D98_DF73_336E_41E9_40A209BE07AF.html =
Photograph
106 x 106 cm
HTMLText_2CF5576C_E223_003D_41E6_BBD1D34DACEB.html =
Photograph
48 x 74 cm
2003


HTMLText_19F887EE_E2E1_003D_41D5_97A5F51950A2.html =
Photograph
71 x 106 cm
2002


HTMLText_11CF4650_E221_0065_41CC_089B9FB71779.html =
Photography
60 x 121 cm
2015


HTMLText_0BFA882A_E261_0025_41CF_6E16E77D427C.html =
Quilt
124 x 124 cm


HTMLText_1B91A8AC_E223_003D_41EB_C5115D631F5C.html =
Seagrape Wood
170 x 78 x 78 cm
1972


HTMLText_1086E0EB_E263_003B_41BC_6C6865C27A3B.html =
Slate Stone
53 x 38 x 8 cm


HTMLText_85988905_DF52_D366_41E9_DA99ED11663B.html =
Textured Paint
Acrylic On Canvas
60 x 90 cm
HTMLText_84B2561A_DF53_3162_41D5_1F0DCA3FC96B.html =
Watercolor On Paper
60 x 50 cm
1992
HTMLText_11A19972_E263_0025_41D1_6FEC2C007D1D.html =
Watercolor On Paper
74 x 57 cm
1997


HTMLText_B5E512FA_DF73_36A2_41EA_D8EE87FE5DE4.html =
Wood, Paper, Mirror, Paint, Shells
84 x 67 cm
2010
HTMLText_0FFEEF65_E261_002F_41DB_D71127894D02.html =
Zericote Wood
78 x 23 cm
2012


HTMLText_DFE598AC_DB71_F2A6_41E5_B583102D3259.html =
Zericote Wood
Variable Size
1987
HTMLText_1329199E_E261_001D_41D5_4D02CAEB482A_mobile.html =
Mixed Media On Wood
47 x 33 cm


HTMLText_932EFCF1_DD53_52BE_41E8_E6B021A7773A_mobile.html =
Acrylic On Board
64 x 49 cm
1992
HTMLText_85B46D22_DF53_53A2_41C1_645BDA341E08_mobile.html =
Acrylic On Canvas
115 x 90 cm
HTMLText_8AE0FEBE_DF73_2EA2_41DA_961BD7AED287_mobile.html =
Acrylic On Canvas
119 x 83 cm
2002
HTMLText_BF0F1E7C_DFD7_31A6_41E9_6076E281D527_mobile.html =
Acrylic On Canvas
30 x 40 cm
2023
HTMLText_81B23F92_DF6F_2F62_41DC_0EFCA0F47E09_mobile.html =
Acrylic On Canvas
41 x 50 cm
1992
HTMLText_8FAA39F9_DD53_52AE_41E1_22831D490154_mobile.html =
Acrylic On Canvas
43 x 44 cm
1999
HTMLText_3B2CBC4B_E223_007B_41EA_29FD4EB8F53A_mobile.html =
Acrylic On Canvas
50 x 50 cm
1995


HTMLText_80BD12F5_DF53_D6A6_41C8_D9C511D947C1_mobile.html =
Acrylic On Canvas
52 x 86 cm
HTMLText_8AB78173_DF76_D3A2_41D9_286C8518E2D2_mobile.html =
Acrylic On Canvas
55 x 63 cm
2017
HTMLText_345B2BAE_E5E3_003D_41DE_3AD58CDC2FD0_mobile.html =
Acrylic On Canvas
60 x 50 cm
2001


HTMLText_E6141B19_DCD3_776E_41E2_67314E01352E_mobile.html =
Acrylic On Canvas
60 x 78 cm
HTMLText_675DD25C_E9B8_897B_41A8_A1BE6A9AD206_mobile.html =
Acrylic On Canvas
63 x 81 cm
2004
HTMLText_B93E9E72_DF51_D1A2_41E7_CC0F3D2137FD_mobile.html =
Acrylic On Canvas
68 x 99 cm
HTMLText_888EB0C4_DD53_32E6_41E9_0FACAFA561B0_mobile.html =
Acrylic On Canvas
75 x 101 cm
2013
HTMLText_07C271A3_E26F_002B_41B9_B57CDD3B37F3_mobile.html =
Acrylic On Canvas
78 x 101 cm
2004


HTMLText_154553E0_E261_0025_41BE_DF40DD213386_mobile.html =
Acrylic On Canvas
86 x 66 inches
2014


HTMLText_039479A9_E227_0027_41EB_C77100C3DE40_mobile.html =
Acrylic On Canvas
Variable size
2000


HTMLText_0B311AA2_E261_0025_41E8_5DBACD562E45_mobile.html =
Acrylic On Paper
30 x 22 cm
2002


HTMLText_0644C995_E22F_00EF_41E9_1EDD90967173_mobile.html =
Acrylic On Wood
48 x 55 cm


HTMLText_8A2CA7C1_DD7F_3EDE_41C1_AB13883975F9_mobile.html =
Acrylic On Wood
60 x 167 cm
2009
HTMLText_347119CA_E5E1_0065_41AF_6A2E78725DEC_mobile.html =
Acrylic on Canvas
50 x 41 cm
2004


HTMLText_3CEC88CB_E263_007B_41E4_B7F63CB668ED_mobile.html =
Acrylic on Canvas
53 x 68 inches
2009


HTMLText_7E2C418C_E99F_8BDB_41E6_CE5861584F96_mobile.html =
Acrylic on Canvas
71 x 55 cm
2004
HTMLText_0333E121_E263_0027_41D2_EBD613BF2A56_mobile.html =
Color pencil and pencil
91 x 152 cm
2009


HTMLText_1BA9D0EE_E221_003D_41D9_97722E16B94F_mobile.html =
Cotton, Wool, Thread, Fabric and Burlap
52 x 46 cm
1995


HTMLText_80C90930_DFD1_33BE_41E4_719F3D749A4E_mobile.html =
Digital Print
20 x 27 cm


HTMLText_8C71CC81_DD6E_D15E_41E9_3B311255AA8F_mobile.html =
Digital Print
30 x 45 cm
2020
HTMLText_388C1A70_F8FA_6901_41E6_777FC0E2EBE2_mobile.html =
Etching On Paper
90 x 107 cm
HTMLText_8AC1ED7C_DF72_D3A6_41E1_3A33A68196DC_mobile.html =
Ink On Paper
39 x 26 cm
1993
HTMLText_1F9D7A11_E261_03E7_41E3_C22DF0F8724A_mobile.html =
Ink on paper
60 x 45 cm
2016


HTMLText_164FBA49_E261_0067_41E0_1F07D074406D_mobile.html =
Mahogany Wood
29 x 52 x 36 cm
2023


HTMLText_B6B8E003_E221_1FEB_41B8_ABDB7CC0C656_mobile.html =
Mahogany Wood
91 x 20 x 40 cm
1980
HTMLText_BBB521E8_DF57_D2AE_41DB_28EB1EDC2E9D_mobile.html =
Mixed Media On Canvas
71 x 61 cm
2014
HTMLText_BFD731E7_DFF6_D2A2_41E7_700A1A208DAD_mobile.html =
Mixed Media on Canvas
40 x 50 cm
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Mixed Media
60 x 33 x 81 cm
2000
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Mixed Media
Variable Size
2001


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Newspaper Mannequin Board
112 x 38 cm
2013
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Oil On Canvas Board
20 x 30 cm
2023
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Oil On Canvas
120 x 99 cm
2008


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Oil On Canvas
73 x 63 cm
1989


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Oil On Canvas
88 x 71 cm
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Oil On Object
18 x 22 cm
2023


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Oil Pastel On Sandpaper
22 x 22 cm
2000


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Pastel On Paper
35 x 38 cm
1988
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Photograph
106 x 106 cm
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Photograph
48 x 74 cm
2003


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Photograph
71 x 106 cm
2002


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Quilt
124 x 124 cm


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Seagrape Wood
170 x 78 x 78 cm
1972


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Slate Stone
53 x 38 x 8 cm


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Textured Paint
Acrylic On Canvas
60 x 90 cm
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Watercolor On Paper
74 x 57 cm
1997


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Wood, Paper, Mirror, Paint, Shells
84 x 67 cm
2010
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Zericote Wood
78 x 23 cm
2012


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Zericote Wood
Variable Size
1987
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Winsom Winsom - C, Sea, See Who Is The Future Of Belize
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Lucky Chaing - After The Rain, Cayo


Watercolor On Paper
60 x 50 cm
1992
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Dame Elmira Minita Gordon


Dame Elmira Minita Gordon GCMG GCVO JP (30 December 1930 – 1 January 2021) was a Belizean educator, and psychologist; she served as the first governor general of Belize from its independence in 1981 until 1993.


She graduated with a PhD in applied psychology, a first for Belize, from the University of Toronto in 1980, becoming the first trained Belizean psychologist.


She was the first woman to serve as governor-general in the history of the Commonwealth.


In addition to her public works, Gordon was a master leather crafts artisan, having won numerous prizes for her works.


The National Institute of Culture and History (NICH) honours and pays respect to Dame Minita Gordon in this Museum of Belizean Art with the displaying of her portrait.
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Benjamin Nicholas once said "No, no, painting is a thing that gives me a feeling of life."


Born in 1930 in Boyo Creek in Toledo, Belize, Nicholas, known as Benji, began school at the age of five in a small village called Barranco. Each day he and his brother Victor would walk or paddle into town for classes and often Nicholas would carry a pencil and paper with him to draw and record things he saw: animals, wildlife and passers-by. He remembers sitting for hours with a papaya leaf, examining its contours. He painted portraits of everyone in town, particularly the elderly. He wasn't fond of athletic endeavours, however, such as carrying loads and pulling his weight on his father's farm. His brother Victor recalls hearing Nicholas say that "when he grew up, the heaviest thing he would ever lift would be a paintbrush."


Nicholas learned a great deal from his father, who was a sign painter, the only painter in Barranco. Nicholas borrowed his father's brush one day and observed that it was hand-made. By using a pencil and attaching a bunch of hair to the end with glue, Nicholas was able to make his own. From this point forward he knew that he would be a painter.


He spent much of his early adulthood trav¬eling between Barranco, Punta Gorda, and Guatemala before moving to America to attend the Minneapolis College of Art and Design at the University of Minnesota in 1970. Although Nicholas admits that there weren't many scenes he wanted to paint in Minnesota — the skies were often gray, not blue like home — he attributes his fame today to those few years of honing and practice.


After returning to Belize, Nicholas set up a studio at his house in Dangriga. Today, the studio is filled with oversized tubes of paint, globs of brown and white on large glass palettes, buckets of brushes and many canvases in progress, including a thirty-foot-long piece for a church in Punta Gorda. He is known for capturing the history of the Garifuna people in oil on canvas. His paintings draw on traditional Garifuna narratives and help spread knowledge of their culture.


Nicholas says that his wife Grace "has kept me alive all these years, I love her." Together they have five children, two of whom have taken after their father and are capable artists.


Nicholas says he is never done with a painting, because "as long as I am watching it, I can see something else to do with it." For this reason, he says, "Painting is a bad habit."


Text: Maggie Turner | Made In Belize | 2007
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Benjamin Nicholas once said "No, no, painting is a thing that gives me a feeling of life."


Born in 1930 in Boyo Creek in Toledo, Belize, Nicholas, known as Benji, began school at the age of five in a small village called Barranco. Each day he and his brother Victor would walk or paddle into town for classes and often Nicholas would carry a pencil and paper with him to draw and record things he saw: animals, wildlife and passers-by. He remembers sitting for hours with a papaya leaf, examining its contours. He painted portraits of everyone in town, particularly the elderly. He wasn't fond of athletic endeavours, however, such as carrying loads and pulling his weight on his father's farm. His brother Victor recalls hearing Nicholas say that "when he grew up, the heaviest thing he would ever lift would be a paintbrush."


Nicholas learned a great deal from his father, who was a sign painter, the only painter in Barranco. Nicholas borrowed his father's brush one day and observed that it was hand-made. By using a pencil and attaching a bunch of hair to the end with glue, Nicholas was able to make his own. From this point forward he knew that he would be a painter.


He spent much of his early adulthood trav¬eling between Barranco, Punta Gorda, and Guatemala before moving to America to attend the Minneapolis College of Art and Design at the University of Minnesota in 1970. Although Nicholas admits that there weren't many scenes he wanted to paint in Minnesota — the skies were often gray, not blue like home — he attributes his fame today to those few years of honing and practice.


After returning to Belize, Nicholas set up a studio at his house in Dangriga. Today, the studio is filled with oversized tubes of paint, globs of brown and white on large glass palettes, buckets of brushes and many canvases in progress, including a thirty-foot-long piece for a church in Punta Gorda. He is known for capturing the history of the Garifuna people in oil on canvas. His paintings draw on traditional Garifuna narratives and help spread knowledge of their culture.


Nicholas says that his wife Grace "has kept me alive all these years, I love her." Together they have five children, two of whom have taken after their father and are capable artists.


Nicholas says he is never done with a painting, because "as long as I am watching it, I can see something else to do with it." For this reason, he says, "Painting is a bad habit."


Text: Maggie Turner | Made In Belize | 2007
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Dr. Ludwig Palacio is a Belizean, Veterinarian, Script Writer, Painter, Sculptor, and Appropriate Technologist and Pan Africanist.


He hails from Peini, Punta Gorda and is now living in the Capital City, Belmopan along with his family.


He has spent most of the last 30 years primarily in the south, where he has worked in all the rural areas.


Ever a consummate innovator, he has pioneered several appropriate technologies such as wood-burning stoves, solar driers, biogas digesters, and alternative building materials and several iconic monument in PG and Belmopan.


He and his family operate a first-of-its-kind: The We Art Gallery Museum.


Email: ludwigpalacio@yahoo.com
Cell/WhatsApp +501-671-6275
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George Gabb was a small boy when he first began to make things. At the time, he was living with his sister and brother-in-law on Lighthouse Reef. He liked being close to the sea and the coral, and he took long walks, drawing inspiration from the beauty around him. Gabb began to make necklaces and small trinkets out of turtle shell, wood, cowhide and horn. Before long, he had advanced to sculpting large birds, sailboats and Creole faces out of Rosewood and Ziricote. Gabb's pieces were selling well, but he yearned to get into "art itself in a visual and spiritual way."


Gabb decided to create a wooden abstraction of "prayer"— not a typical kneeling figure, but his own personal conception of it. Shirley Warden, a retired artist, who had become a mentor to Gabb at the time, begged him not to pursue abstract themes. He felt awful. The woman he most admired disapproved of his masterpiece. In a drunken fit, he hauled it to the sea, planning to drop his work secretly into the Caribbean. When he arrived at the dock, though, he ran into some fisherman friends and couldn't follow through. It was a good thing. Eventually this sculpture helped him win a scholarship to study art in England.


It was this sculpture that also became a spring board for Gabb to develop his own philosophy, which he described as a link between poetry and sculpture. In 2004, he said, "It would be an injustice to think of art in human terms. It is an incalculable expression that is beyond man's mathematical comprehension." Gabb, who died in 2007, was content that he never had much formal art training — he felt he had been able, wholeheartedly, to establish and maintain his originality. His most poignant sculptures often feature a captivating face that emerges out of a large piece of abstract wood. Gabb polished the wood until the faces gleamed; the works are at once apparent and subtly mysterious.


Born in 1928, Gabb taught and worked in Belize, Canada, Jamaica and the United States. He displayed his work at the 1984 World's Fair in New Orleans. Both the Queen of England and the Archbishop of Canterbury own his sculptures. Gabb was also a poet and playwright. His most famous play, Yellowtail, won the highest awards in 1966 at the Cayo Festival of Arts, and was performed in July 2004 at the Bliss Center for the Performing Arts.


As Gabb aged, he became less able to produce. He said his biggest challenge was "staying alive and not working." Gabb said, "When I work, I am alive. Oh, how I wish I could work into the night."


Text: Maggie Turner | Made In Belize | 2007
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Come Visit The Museum


The Museum of Belizean Art (MOBA) NICH proudly announced its opening and inaugural exhibition on April 17th, 2024, presenting the works of 68 artists whose works span over seven decades. The Museum, now offically opened to the public, welcomes you to visit in person and learn more about the art on display.
While on site you will have access to our tour guides who are eagerly waiting to share with you all of the wonderful stories and historical significance surrounding the art pieces.


MOBA opens from 9am to 4pm Monday to Friday.


FEES:


Tourists - $10US
Belizeans - $10BZ.
Children under 12 enter for free.


MOBA is located at 71 Dr. Dame Minita Gordon Drive, Belize City, Belize
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The Museum of Belizean Art (MOBA) wishes to acknowledge:


Hon. Francis Fonseca, Minister of Foreign Affairs, Foreign Trade, Education, Culture, Science and Technology


The Board of Directors of the National Institute of Culture and History (NICH) – Albert Vaughan, Arreini Palacio, Jaylan Craig, Carlo Habet and Kirkland Smith


Ilona Smiling, Director of the Museum of Belize and Houses of Culture and her staff


Gilvano Swasey and Al Peyrefitte, Curator and assistant Curator of the MOBA


Jovan & Farah Guerrero, Partners, Salient Group


Gabriel Guerrero, Creative Director, Salient Group


Yasser Musa, co-ordinator, MOBA project
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The Museum of Belizean Art aims to inspire creativity, understanding, and community enrichment through artistic projects, educational programs, and outreach efforts.
With its mission to engage and educate, MOBA emphasizes contemporary art as a tool for inspiration and upliftment, aiming to transcend spatial boundaries and resonate in the present. The museum envisions itself as an inclusive hub for cultural and social experimentation, fostering dialogue, appreciation, and promotion of Belizean arts while also playing a crucial role in decolonization actions, breathing new life into historically laden spaces.
MOBA seeks to collect, research, and preserve emerging artists' works, furthering its dedication to the cultural and social advancement of Belize.



NICH Mission


NICH is Belize’s premier cultural institution dedicated to the safeguarding, promotion, expression, conservation and sustainable development of culture in all its diversity in collaboration with the people of Belize.


A Belize that embraces and promotes Our Cultures, Our Values, Our Identity, Our Prosperity in a global community.
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"I am a proud African Garifuna woman," announced Mercy Sabal as she explained her history and the story of her dolls and quilts. Sabal was born in Dangriga in 1955. She began to crochet and embroider at the age of fifteen and was soon making sweaters and caps for babies and shawls for women. Sabal's family eventually moved north to Orange Walk where she began working at the local hospital and became a qualified midwife and nurse. In her spare time, she took sewing classes and cleverly brought her creations with her to the hospital. In the maternity ward, she sold many.


In her late twenties, Sabal learned how to make dolls, initially to generate income. In time, however, she developed an original pattern and individual style. She aimed to emphasize her own Garifuna heritage and encourage those who were straying from their roots to revisit the culture. The dolls' wardrobes are made with a sewing machine and Sabal uses her own scrupulous hands for the bodies and decorations. The dolls are often adorned with colourful beads and feathers, polka-dotted or flowered fabrics and props.


At age thirty, Sabal learned how to quilt. At first, she was simply putting cloth together, hand-sewing everything initially and then using a machine to retrace her stitches and make them stronger. However, over the past ten years, Sabal has begun to make her work more intricate and personal. She continues to use Garifuna culture as her subject but today she layers cloth together in unusual ways. Sometimes she will invent a theatrical scene that includes characters and often a plot. Other times, she will make a pattern that at first appears perfectly geometric but that actually has a number of details that artfully stray from the primary configuration.


Occasionally, Sabal gets overwhelmed with commissions and then asks friends to help, including her husband, Salahuddin Norris. Often, she will come up with an image for the quilt, Norris will stencil it on paper and then Sabal will work from his picture and begin to piece the fabric together and sew.


Sabal says, "I put myself in art." She finds it very rewarding when someone comes along who identifies with all she has put into a doll or quilt. When the viewer understands where she is coming from, the connection between the artist and the viewer is "magical."


One of Sabal's quilts travelled to Washington, D.C., and Taiwan to represent the Image Factory of Belize and Caribbean arts in 2001. In July 2004, she had her first solo show at the House of Culture in Belize City.



Text: Maggie Turner | Made In Belize | 2007
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1956 in Ahrweiler, Germany
Ingrid Cayetano studied art from 1976 to 1980 at the University of Applied Sciences in Cologne, Germany. Early 1981, the year when Belize gained Independence, she visited Belize and met her husband legendary artist and musician Pen Cayetano from Dangriga.


She became the first manager for the Turtle Shell Band, the group that created the now Caribbean famous and national genre of Punta Rock.


Ingrid Cayetano has a unique method of presenting ideas in her needle paintings. She experiments and combines old techniques with new materials. The fabrics tell a story and are ´painted´ with thread and needle. Ingrid’s various subjects are cultural, emotional, and mostly realistic. Creations are inspired and linked to the artist’s surroundings for example mother and child scenes, portraits - especially extraordinary women, presentation of cultural and historic subjects like dances and rituals.


Since 1978 she has been doing performances and exhibitions in Germany, Europe and abroad. Besides being an artist, Ingrid Cayetano is the coordinator, manager, mother of three and a member of the family band “The Cayetanos”. Along with her son Ibo she wrote the children book stories “We are free” and “Wanaragua” which were illustrated by her daughter Malí.


Since 2009 she and her husband welcome visitors at their colonial style Art Studio and Gallery in Dangriga presenting their art and the Garifuna Culture.


She shares her art with younger children and adults who attend her training classes hoping that many more young folks from all over Belize would like to learn this art-form and produce their own pieces and enrich the world of arts in Belize.
Under her own label Ms. Ingrid’s she offers her homemade jams and jellies and every March she organizes the ‘Women in Art’ event in Dangriga.
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Adrian Barron emerges as a multi-faceted artist whose work spans the realms of prints, moving images, and site-specific creations. His inspiration drawn from the concept of the garden as a Heterotopia (a space of otherness) reveals a fascination with the intricacies of nature and the perpetual changes inherent in it.


The choice of the garden as a source of inspiration implies a focus on a microcosm that mirrors the broader complexities of the natural world. Within this small-scale environment, Barron explores the notions of constant flux, ambiguity, and the coexistence of repetitive, predetermined patterns with mutated and unpredictable elements.


The prints, moving images, and site-specific works created by Barron embody this ambiguity, prompting viewers to question the very essence of 'nature.' His exploration delves into the roles humans play in shaping and interpreting nature, as well as the deceptive aspects and resulting phenomena within the larger context of our world.


Adrian Barron's background, with dual Belizean and British nationality, reflects a diverse cultural and geographic perspective. His interest in natural history, particularly entomology and mycology, intertwines with his current profession as a freelance gardener and garden designer, further emphasizing the connection between his artistic practice and his engagement with the natural world.


Active participation in artists' collectives such as Zero and Landings in the Caribbean, as well as being part of the international arts group Beyond the Gallery, signifies Barron's commitment to collaborative artistic endeavours. In Belize, his co-founding and coordination of the Earth Art Sculpture Park 'Poustinia' in the jungle underscore his dedication to creating spaces that blend art with nature, fostering a unique and immersive artistic experience for the community and visitors alike.


https://adrianbarron-artist.co.uk


https://chasemagsy.wordpress.com/2019/10/01/i-think-i-have-had-quite-an-exciting-journey/
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Although Eduardo Alamilla was never formally taught how to paint, his realistic cultural renderings have made him one of the best-known painters in Belize. Alamilla, known as Papo, was born in the village of San Pedro, in Ambergris Caye in 1964.


He has been a serious painter since the mid-1980s, learning from practice and experience. Alamilla got his first break painting signs for the liquor store Traveler's Limited in Belize City. His early exposure to the vibrant colours and dynamic scenes of Belizean life ignited his passion for capturing the essence of his homeland on canvas.


Alamilla paints in acrylic and oil and chooses to depict what he describes as the "culture of Belize." His work celebrates men scaling fish by the sea, young boys playing marbles in the sand, a Mayan mother and son walking down the street, and the elegant jaguar known to Belize. Alamilla discovers subject matter in his imagination and from photographs, infusing each piece with a sense of authenticity and nostalgia. His capacity to depict the happenings of Belize realistically is powerful and offers a window into the life of the small Caribbean country.


In 2007 Alamilla worked on a series of paintings that illustrate what San Pedro looked like twenty-five years ago. Working from black and white photographs collected by his family and old records from San Pedro archives, Alamilla was able to re-create, in colour, historical paintings of the village that in more recent years has become a town overflowing with people, construction, and tourism.


Alamilla has showcased his work in various locations throughout Belize, including the Bliss Center for the Performing Arts and the House of Culture in Belize City. He aims to continue exhibiting his work in the future, sharing the beauty and richness of Belizean culture with a wider audience.


Adapted from the Text: Maggie Turner | Made In Belize | 2007
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Anthony Joseph Vacaro started the work of art in 1962 alongside his older brother Joseph. They both started making capirucho (a toy made from wood and string), which was sold at a cost of 25 cents and 50 cents. From a very tender age they felt responsible and independent. Since they were left in the care of a foster parent with minimum financial support from their parents as they ventured off to chicle camp. Anthony loved learning and producing new types of art. In the late 60’s he started producing chicle (chewing gum) in the form of animals, a skill he learned from Mr. Selvin Jeronimo. In the early 1970’s he met up with Mr. Trim and Mr. Satul from Orange Walk who taught him the art of making flute from trumpet wood and pobunu boi and apes from cohune. He continued to find art interesting and ventured into cabinet making with Mr. Trim. During this period, he made toy trucks and many mindset games which got the attention of many people.


Mr. Vacaro believes that art is a vision in the back of the mind that is expressed using different types of materials. He believes he was born with the gift of wisdom of creating art. In the early 70’s he was faced with many challenges in the art industry especially due to him not being stable in one community, which caused a career change for a short period of time. He transitioned from small art to larger art when he met up with Mr. Egbert Pinkard and Mr. Selvin Jeronimo. He started making boat propellers, canoes, paddles and matas and sticks (to shell corn and beat rice).


In late 1976 he returned to art (woodcarving as a business) when he met Marcos Enriquez, Archie, Hope and Pook. This time he realized that art was bigger than he imagined. He started producing on a large-scale making afro as well as regular combs. As time progressed Mr. Vacaro continued to develop his artistic skills in producing whatever art his costumer would request. Every new creation was a bit of a challenge since he needed many different types and sizes of tools in order to complete any given task. Over time he moved from simple manual tools to more advanced electrical tools which makes his work faster and less complicated. He now produces art from different types of wood, stone, bottles, shells and other materials.


Mr. Vacaro believes in art you need to have a good memory in order to put your thoughts together to express your skill into practical work. Anthony said “a good memory is better than any document since the document can be lost or misplaced, as an artist you are dependent on the people for support in surviving, so you must be able to create the art they desire. What pushes me most is that I love to live in the minds of people”.
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Araceli ‘Lita’ Krohn is Belicena, Latina/Caribena. Her field of studies at university was Literature, Spanish and the Arts. After two years of teaching English in Mexico City, exploring that beautiful country, working in London and visiting Spain and Greece, she returned to Belize, married, and produced two of her best creations: Adam and Aaron. For the next twenty or so years, she taught Belizean History, Latin American literature and became part of a team that introduced Houses of Culture nationwide. She was the director of the newly formed Museum of Belize from 2005 – 2010. Today, Lita continues to paint. It is her passion.


Lita’s paintings have been described as: “small gem-like images of upper class and bourgeois women relaxing in posh environs. They ponder an upbeat, cushy view of life. A life that is leisurely and stress free.” (SHE, Factory Books, 2000)


“With her complex patterning and flashy, playful color sense, the works’ visual effect is primarily decorative and relaxing, like your over-stuffed armchair.” – The Reporter, 1994


In her exhibit: Back-to-Back, Yasser Musa wrote, “Krohn’s images are built with a modern sensibility and perspective. The paintings are reduced and simplified into basic forms and structures. Krohn also bridges an important gap we have within the visual arts in Belize existing between fine arts and crafts, but aggressively Fauvist in its source and skill.” – 2012
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As founder of the Image Factory, co-designer of the Belize Museum, operator of the Belize Center for Art Education and Cultural Understanding, and president of the National Institute of Culture and History, Yasser Musa has long been the leading figure in Belizean art. He is also an artist.


In 1992, Musa and musician Ivan Duran had an art show. They felt at the time that Belizean art and music were uninteresting. Maybe they could do something to provoke change. The show was held at the Bliss Center for the Performing Arts and, for the first time in Belizean history, stereotypical paintings of sunsets and coconut trees were replaced by an installation of live music, dance performances and video projections. The gallery rooms were covered in art, graffiti, trash, misplaced objects and laundry. It was a multi-media show called Minus 8 — the number of years until the millennium. Several thousand people attended. Musa recalls that many thought the work was "insane," that he and Duran were making a mockery of art. But Musa says the show also inspired young artists and asked people to question their outlook on Belize's artistic future. It was said that Belize gained its independence from Britain in 1981 and emancipated itself artistically in 1992.


Musa, who was born in 1970, studied economics at Louisiana State University before acquiring a master's degree in art history. He returned to Belize in 1994 and began teaching art and art history at St. John's High School and Junior College in Belize City. The art history class was the first ever in the country.


In 1995, he founded the Image Factory, the first space in the country dedicated to making, displaying and exalting Belizean art. The Image Factory embodies the philosophy that art has to be community-based to succeed.


In 2001 Musa and Gilvano Swasey designed the first museum in Belize, the Belize Museum, which opened in 2002. Also in 2001, Musa and Michelle Perdomo launched the Belize Center for Art Education and Cultural Understanding, the nation's first major art facility for students.


Today, Musa says his "goal is to fully dedicate myself almost absurdly to being an artist in Belize." Although he has studied painting, he is best known for his conceptual work, often involving traveling installations. The Banana Boy Project, begun in 1999, focused on a figurine of a small boy holding a banana that Musa discovered at a Guatemalan market. He took it everywhere for a year, snapping pictures of banana boy in 620 varying contexts. The pairing of the figurine and the environment often becomes bizarre.


Musa calls himself a "perverse optimist." He wants to continue "presenting culture, making art — move and keep moving."


Text: Maggie Turner | Made In Belize | 2007
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At first Gilvano Swasey was attracted to art class because it was coed. Over time, however, his natural talent became clear to all of his teachers, the most important of whom was Michelle Perdomo. She gave him a key to the studio so that he could work on weekends. He was also the head of the environmental club at school and chose to major in biology at St. John’s Junior College in Belize City.


After Swasey completed school, Yasser Musa asked him to participate in the opening exhibit of the Image Factory. The show was called The Young Realists and the gallery space was one of the first in the country. Swasey obliged but was still more passionate about science than art. In late 1995, however, Perdomo pushed Swasey to apply for a scholarship jointly funded by UNICEF and the School of Visual Arts in New York City. Swasey won, outdoing hundreds of artists from developing countries all over the world. But when he got to New York, he felt the sponsor had deserted the project, leaving Swasey alone and questioning the art world at large. He returned to Belize and began working as a field biologist, making nature trails and designing backdrops for tourist visits. After six months, Swasey abandoned this work with a renewed hope of discovering a career in art.


Swasey describes his art as "experimental." He has used all mediums from acrylic to oil to pastel to ink and has explored widely, including painting, printmaking and installation sculpture. He says, "I would like to get to a stage where I am fully comfortable with what I am doing." But the diversity of his talent is a strength. He is open to the world around him and his careful observation is revealed in the breath of his work.


Swasey is famous for his capacity to render realistically. In one project called Urban Nomads, he chose to survey and carefully depict faces from the Belizean street. The series was rich in detail that illuminated the subjects’ innermost characters.


In 2001, Swasey and Musa were commissioned to design and develop the Museum of Belize (MOB), the first in the country. The pair turned an old jailhouse in the center of the city into a lively cultural center which today celebrates Belizean history, education and identity.


Text: Maggie Turner | Made In Belize | 2007
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Aurora, Carmelita, Maria and Sylvia Garcia — four sisters from a small village called San Antonio in the Cayo district — were working on their farm in 1981 when they came upon a sizable piece of slate. They knew it was uncommon, and they became curious about their treasure, feeling it had a deep connection to their home. A year later, a rainy day kept the sisters from working outside. They re-examined the slate and saw the shape of a whale in the stone. They used pencils to draw the whale on the slate and then carved the animal out of the stone with razors, using polish to make it shine.


Their father was less than pleased. "How will you survive?" he asked. "Who will eat stone?" He worried that the sisters had forgotten the importance of farming. But they had not. For the Garcia sisters, carving became a rest from field¬work. With the help of an admirer who brought slate to the sisters, they were able to produce and sell many of their works of art. In 1988, the quartet had saved enough money to travel to Belize City and have a show at the Bliss Center for the Performing Arts. The show was a success and helped the Garcia sisters realize their talent was worth developing further. It became their mission to preserve their culture in slate, carving traditional Mayan scenes as well as the flora and fauna of Belize and the farm that was so important to them.


Maria Garcia says that, when choosing an image for a stone, the sisters are often guided by books and their dreams. Frequently, the images are in the stone already. Garcia adds that each artist becomes intimate with her image, often speaking with it to learn where to start, how to "obtain the key to walk inside." They become so close with their works that they sometimes find them difficult to part with. The Garcia sisters burn an incense called copal while they are working. Maria says it helps open a third eye so the sisters can consider their pieces anew.


Today, the Garcia sisters have an official permit to extract slate from the Mountain Pine Ridge and are proud to be in harmony with the environment. They would never want to hurt the surroundings that are sacred to them. They have shown their work in Belize, Costa Rica, the Dominican Republic, Jamaica, Japan, Mexico and Nicaragua. Maria says that each day the sisters thank the gods for giving them the gift to create and the guidance to do so with such grace.


Text: Maggie Turner | Made In Belize | 2007
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Benjamin Nicholas once said "No, no, painting is a thing that gives me a feeling of life."


Born in 1930 in Boyo Creek in Toledo, Belize, Nicholas, known as Benji, began school at the age of five in a small village called Barranco. Each day he and his brother Victor would walk or paddle into town for classes and often Nicholas would carry a pencil and paper with him to draw and record things he saw: animals, wildlife and passers-by. He remembers sitting for hours with a papaya leaf, examining its contours. He painted portraits of everyone in town, particularly the elderly. He wasn't fond of athletic endeavours, however, such as carrying loads and pulling his weight on his father's farm. His brother Victor recalls hearing Nicholas say that "when he grew up, the heaviest thing he would ever lift would be a paintbrush."


Nicholas learned a great deal from his father, who was a sign painter, the only painter in Barranco. Nicholas borrowed his father's brush one day and observed that it was hand-made. By using a pencil and attaching a bunch of hair to the end with glue, Nicholas was able to make his own. From this point forward he knew that he would be a painter.


He spent much of his early adulthood trav¬eling between Barranco, Punta Gorda, and Guatemala before moving to America to attend the Minneapolis College of Art and Design at the University of Minnesota in 1970. Although Nicholas admits that there weren't many scenes he wanted to paint in Minnesota — the skies were often gray, not blue like home — he attributes his fame today to those few years of honing and practice.


After returning to Belize, Nicholas set up a studio at his house in Dangriga. Today, the studio is filled with oversized tubes of paint, globs of brown and white on large glass palettes, buckets of brushes and many canvases in progress, including a thirty-foot-long piece for a church in Punta Gorda. He is known for capturing the history of the Garifuna people in oil on canvas. His paintings draw on traditional Garifuna narratives and help spread knowledge of their culture.


Nicholas says that his wife Grace "has kept me alive all these years, I love her." Together they have five children, two of whom have taken after their father and are capable artists.


Nicholas says he is never done with a painting, because "as long as I am watching it, I can see something else to do with it." For this reason, he says, "Painting is a bad habit."


Text: Maggie Turner | Made In Belize | 2007
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Benjamin Nicholas once said "No, no, painting is a thing that gives me a feeling of life."


Born in 1930 in Boyo Creek in Toledo, Belize, Nicholas, known as Benji, began school at the age of five in a small village called Barranco. Each day he and his brother Victor would walk or paddle into town for classes and often Nicholas would carry a pencil and paper with him to draw and record things he saw: animals, wildlife and passers-by. He remembers sitting for hours with a papaya leaf, examining its contours. He painted portraits of everyone in town, particularly the elderly. He wasn't fond of athletic endeavours, however, such as carrying loads and pulling his weight on his father's farm. His brother Victor recalls hearing Nicholas say that "when he grew up, the heaviest thing he would ever lift would be a paintbrush."


Nicholas learned a great deal from his father, who was a sign painter, the only painter in Barranco. Nicholas borrowed his father's brush one day and observed that it was hand-made. By using a pencil and attaching a bunch of hair to the end with glue, Nicholas was able to make his own. From this point forward he knew that he would be a painter.


He spent much of his early adulthood trav¬eling between Barranco, Punta Gorda, and Guatemala before moving to America to attend the Minneapolis College of Art and Design at the University of Minnesota in 1970. Although Nicholas admits that there weren't many scenes he wanted to paint in Minnesota — the skies were often gray, not blue like home — he attributes his fame today to those few years of honing and practice.


After returning to Belize, Nicholas set up a studio at his house in Dangriga. Today, the studio is filled with oversized tubes of paint, globs of brown and white on large glass palettes, buckets of brushes and many canvases in progress, including a thirty-foot-long piece for a church in Punta Gorda. He is known for capturing the history of the Garifuna people in oil on canvas. His paintings draw on traditional Garifuna narratives and help spread knowledge of their culture.


Nicholas says that his wife Grace "has kept me alive all these years, I love her." Together they have five children, two of whom have taken after their father and are capable artists.


Nicholas says he is never done with a painting, because "as long as I am watching it, I can see something else to do with it." For this reason, he says, "Painting is a bad habit."


Text: Maggie Turner | Made In Belize | 2007
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Born in 1973 to an American mother and Mayan father, Santiago Cal grew up in Belmopan and Corozal before moving to Kutztown, Pennsylvania. There, he was able to explore artistic impulses. Cal attended Kutztown University and majored in art. His teachers liked his energy and gave him his own key to the art studio. Later, he received his Master of Fine Arts at Virginia Commonwealth University.


Today, Cal describes himself as an "emotive surrealist." He pays close attention to his dreams and often uses their stories as his subject matter. In a 2001 installation called Ticks, Cal attached oversized wood and plaster ticks to the gallery wall so that they appeared to be sucking the wall into their bellies. The image arose from a dream Cal had about his dog, on his porch in Belmopan. Cal creates sculptures, installations and videos using diverse materials: soccer balls, photographs, wood, balloons, plaster, metal, paint. He often travels to planned exhibits with almost nothing. He works with whatever he finds, but two elements remain consistent in his work: an emphasis on the human body — both representational and metaphorical — and the use of wood. Like many Belizeans, Cal has a passion for handling wood.


At present, Cal is an art teacher at the University of Nebraska, where he teaches drawing and sculpture. He returns to Belize frequently to show his work and be a part of the Belizean arts community. However, he finds that often, in Belize, he is treated as an American. He has fair skin, wears hip glasses and doesn't always speak in the broad Creole that is so common. Cal was interested in the idea of being a foreigner at home and worked to document his experiences in writing and drawings. This work became the basis for a show in Nebraska in March 2005.


Red Umbrellas, installed in Cuba in 2003, aims to take an ordinary object, the umbrella, and manipulate it until the human eye and mind believe it to be something different. Cal was interested in the idea of the umbrella as a source of protection. In Belize, people use umbrellas to protect themselves from rain and more commonly from the sun. Here, however, the umbrella turns into an ominous red cloud that towers above the viewer. The object meant to protect becomes the source of peril.


Cal's first solo exhibition was at the Image Factory in 2001. He has since shown in Costa Rica, Cuba, Guatemala, the Dominican Republic, Mexico, Portugal, Spain, Taiwan, the United States and Venezuela. Cal's goal is to never "feel calm." He likes feeling restless because "there is nothing more terrifying than not being able to make, learn or grow." He was a key participant in two significant internationalization art projects Zero: new Belizean art and Landings which focused on exhibitions the mainly in the sub regions of Central America and the Caribbean.


Text: Maggie Turner | Made In Belize | 2007
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Born in Belize City in 1978, David Anderson began drawing while at Queen's Square School. During free-drawing sessions, he found that his peers began to circle around him as he worked, waiting to see what he would create. In high school, Anderson and his friends would have drawing contests, and Anderson "topped" his buddies time and time again. His friends con-stantly asked for help with diagrams for science projects and other assignments that needed his visual expertise. In the evenings, he could be found at the home of his neighbour, Ryman Diego. Diego taught Anderson how to prepare a canvas and how to improve as a painter. Anderson recalls his very first painting, an image of two gun-toting cowboys walking into the sunset. However, at the time, art was not something he wanted to pursue because "to be an artist was to be at the bottom of the barrel." Peers called Anderson an artist and in turn he felt insulted. After graduating from high school, Anderson neglected all artistic notions and wanted to become a bank clerk. But soon, he realized the office was not for him. He became a tattoo artist and picked up his pencil and paints again to draw portraits of his friends. These same friends insisted that Anderson study art. He decided to attend St. John's Junior College in Belize City where he could work with Michelle Perdomo and her son, Damian, to strengthen his natural talent.


Anderson spent 2004 teaching art at St. John's College and Junior College alongside his former mentors. Today he teaches art at Anglican Cathedral College, also in Belize City. Much like former teacher and mentor Michelle Perdomo, he finds joy in watching his students develop their skills.


Anderson designed the set for artist George Gabb's renowned play Yellowtail, which was performed at the Bliss Center for the Performing Arts in July 2004.


In addition, he showed his work at the Art Now exhibit at the Image Factory in September 2004. Anderson has also done photo essays for NICH CULTURE: a magazine about Belize, including one series that documented cyclists during Krem's New Year's Cycling Classic, an eighty-six-mile race from Corozal to Belize City.


Anderson's biggest challenge is dealing with people who don't realize the power art has to communicate without words. When asked about the future, Anderson replies that he will stay in Belize to watch art develop and unfold so that in the end he will be able to say, "I helped build this."



Text: Maggie Turner | Made In Belize | 2007
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Briheda Haylock is a Belizean artist who made their trailblazing entrance into the visual arts community in 2012, with the art exhibition ‘Society Killed the Teenager’ challenging their society's social oppression, individualism. Haylock developed their voice in the community as bold, provocative, and controversial with a healing psychological twist looking at individualism, gender-based violence, and making a stance for the LGBTQIA+ community.


Since Haylock's debut launched, them has been sought out by their community to curate and create social, educational art shows for NGOs such as Special Envoy for Children and Women and UNIBAM. ‘Milestone’ (2014) helped highlight the prolific women in Belize. ‘My Story’ aided with the Humanization of the LGBTQIA+ community with the show, My Story (2015). Latched: A Community That Supports Breast Feeding (2022) was a collaborative effort with Belize’s advanced lactation consultant Penelope Cassola, to educate the community about the importance of support and the father’s role when it comes to breastfeeding.


Haylock was a part of a small editorial team Baffu E-Magazine (2014-2016) that highlighted the contemporary visual artist, and poets in Belize and documented the culture of Belize. Haylock visual pieces and poetry were featured in the publication. Haylock is also a member and a co-founder of the Belize Women Art Collective (BWAC), an art group geared toward promoting women artists in Belize.


Briheda Haylock is vastly known as a visual artist but started sharing their poetry at a young age. In 2006 their poem Word of 'Anger Which We Speak' was published in a collective entitled Poets R’ Us of teen poets mentored by the Great Grandmaster. In 2015, Haylock became a member of 501 Spoken words. Since joining, the group they have performed with the group and published in the anthology Poetic Narcotics. Haylock Performed at, Doh seh It! (2018) The first international poetry festival performance was In Guatemala, Poesia versus Diferendo, Crea. Puerto Barrios Guatemala (2018) and (2021) 17 Festival Internacional DE Poesía De Quetzaltenango. In 2022 Haylock Represented Belize on Colombian APL Radio, The Real Podcast located in Jamaica, Dominican Republic, and at the Panama Embassy in Belize for the launch of poet Sharon Pringle book release, "The Don't Cry Generation".


Haylock international presence is slowly growing outside of Belize. Their work has been featured in a few articles in the United States, and were published in Bible Belt Queers, in 2019 & 2023. They participated in a global collective collaboration with the team Ghost of A Dream in 2021. Haylock is also on the artist list in Grenada on the platform Caribbean Kind, and in Panama for their contribution to the Central American performance art scene in the project Subasta MAC Panamá. In 2022, they were welcomed to the Miami art collective Diaspora Vibe Cultural Arts Incubator (DVCAI) and In 2023, Mexico acknowledged them for their feminist/activist creative approach in the project Disidenta.
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Carl Hughdonald Gordon was born on 1 November 1957 in Esperanza Village, Cayo. Gordon attended St. Francis Xavier School in Norland Farm, Cayon District. In his primary school years, he inadvertently discovered a passion for drawing by tracing and sketching images from his uncle’s drawing book, a talent admired by his peers.


In his young adulthood, Gordon left Esperanza Village and began working at the Belize Flour Mills Limited in Belize City. It was here he met Austin Lopez, who introduced him to the world of woodwork at an art shop on 196 West Collet Canal. Initially starting with sanding tasks, Gordon's artistic journey took a defining turn in 1976. Left alone in the art shop, he sculpted his facial features on a piece of stump, his first ever 2D sculpture. Recognized for his talent by his family and friends, he began his career in wood sculpting.


Gordon had the privilege of working alongside Hugh Broaster, a disciple of George Gabb. Under Broaster's guidance, he refined his sculpting skills, drawing inspiration from his profound love for nature and the outdoors. Over the years, his masterpieces found homes at major resorts and businesses in Belize. Moreover, Gordon has mentored more than 22 individuals in the art of woodwork throughout Belize.


Gordon's artistic repertoire expanded beyond wood, evident in his stone sculptures, like the one gracing the Welcome Center in San Ignacio Town, Cayo. His works often narrate indigenous worldviews and emphasize the significance of shared ancestry and unity.


Today, Gordon resides in Los Lagos, where his workshop stands. While he values the solitude that fuels his creativity, he envisions a future exhibit displaying his collection and aspires to continue to impart his sculpting knowledge to others. His detailed sculptures are a testament to his profound passion for art and of his faith in humanity's ability to overcome its challenges.
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Cartoonist Charles Chavannes says with confidence that if he were to lose both of his hands, he could learn to use his feet to draw. In 1968, he was the first to sign up for the newly estab-lished art club at St. John's High School in Belize City and he consistently doodled on the edges and backs of his notebooks, often sketching caricatures of his teachers. In the summer of 1975, after completing high school, Chavannes traveled to the Art Institute of Fort Lauderdale where he studied for six months. In 1979, a few years after returning, he was asked to do his first commercial work for the Belizean magazine, Brukdown. Third World Comics often focused on political agendas that were more his editors' than his own. However, they had a definite impact in Belize in that they addressed pertinent political issues.


Chavannes was born in 1955 in Belize City. He once had a weekly cartoon in the newspaper The Reporter called So It Go which had no fixed protagonist. He often includes the prominent personalities of Belize City. When asked what inspires his work, Chavannes wryly replies, "Things that piss me off." Chavannes has lived in Belize City his entire life and says he has a definite "love and hate relationship" with home.


Chavannes's goal as an artist is to make his work good enough to stand up anywhere. Belizeans often say, "Good enough for Belize," but Chavannes isn't satisfied with that standard. He aims to continue growing as an artist, reinventing himself, and making his work solid in every location.


Text: Maggie Turner | Made In Belize | 2007
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During the 1960s Cornelius Harrell, also called Cornelius Magnus but best known as Magnus, made his way from his birthplace in Canada to Belize. Magnus had a passion for creativity and success and immediately became an integral part of the local art scene. He travelled between Belize and North America for many years and, after receiving a master's degree in fine arts from Cornell University, decided to return and remain in Belize for six years. From 1978 to 1984, Magnus focused on his artwork and not only created many pieces but stimulated an awareness of and appreciation for art in the young country. Since 1984, he has returned to a rhythm that suits his nomadic style, spending equal durations in Belize and North America.


Magnus was known for his love of recycling. He often used materials from his surroundings, including natural elements, to produce abstract assemblages. Magnus was a painter who used oil paint to depict the female figure. He painted the female form creating a testimony to what he clearly saw as a woman's flawless beauty. He completed a series of sketches portraying women in the summer of 2004.


In 1997, Magnus had his first show in Belize. In December 2005 he and Michael Gordon collaborated on an exhibition called Detritus bringing together two very divergent styles of art.


Text: Maggie Turner | Made In Belize | 2007
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From the beginning, Richard Holder found the world so beautiful he was driven to imitate it. Holder was born in Belize City in 1974 and, as a youth, he would draw late into the night. He often used imagery from his dreams as inspiration; he also ravenously collected comic books and used them to practice rendering, immersing himself in a fantasy world. Holder said that, "my life was magical and super and I could live forever.” Holder was particularly enchanted by Spiderman, who was not only an adolescent, like himself, but, as Peter Parker, had a camera.


As a child Holder moved often, leaving for Trinidad at five years of age and later heading to St. Lucia and Miami. He says traveling made him curious about the world. After completing high school in Belize City, he went to study at the University of North Texas, where he began painting and drawing.


Initially, Holder enjoyed the challenge his instructors presented, but before long, he found himself painting and drawing on his own. He yearned for a less solitary pursuit. He tried photography and was immediately drawn to the social aspect of the art, the way photography forces an artist to step into the world and take part.


After graduating, Holder returned to Belize and felt panicked. He was accustomed to an artistic atmosphere that allowed him to elaborately plan and stage his work. In addition, often the subjects were nude. He was unsure how this would translate in Belize. His first show, at the House of Culture in Belize City, was almost cancelled because the majority of the subjects were of nudes. Holder remained open-minded and began working for the Museum of Belize, documenting everyday life. He veered away from the staged photograph and began to travel throughout the country, candidly "catching the moment." He learned how to move quickly and how to communicate with people on the street, how to "seduce" them into his work.


Holder has taken photographs for the famous Belikin beer calendar, which annually features twelve of Belize's most beautiful women. And recently he has been working to bring elements from a posed world to the streets and elements from the streets to his studio. His series, We, does precisely this, bringing outcasts from Belize's common neighbourhoods into a light-filled studio. The outcome is a thoughtful juxtaposition of contrasting worlds. In another piece, The Last Supper, he gathered twelve Rastafarian men from Belize City. The shoot was a success, but the most difficult aspect was getting the men to look at the Rastafarian portraying Jesus. They were all more interested in the camera. As Holder worked, he recalls, he kept shouting, "Look at Jesus, look at Jesus!"


Text: Maggie Turner | Made In Belize | 2007
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Ilona Smiling, born on February 2nd, 1988, in Belize City, is a versatile Belizean artist specializing in abstract art and curation. With a degree in Criminology from the University of South Florida and an MFA in Art Management from Taipei National University of the Arts, Ilona seamlessly combines her academic background with a rich artistic vision. Despite their bright and colorful appearance, Ilona's artworks are celebrated for their emotional depth, providing insight into the intricate layers of her inner world.
In her artistic journey, Ilona focuses on self-expression, infusing her creations with the raw essence of her personal emotions and experiences. Each artwork is an articulation of her nuanced feelings, which invites viewers into an intimate dialogue with the artist's inner world. Ilona's experimentation with shapes goes beyond aesthetics, as art becomes a language of its own, conveying not just visual appeal but a profound exploration of her own psyche and its myriad expressions.
Examples of Ilona's work include "Confusion," a poignant exploration of the overwhelming burden of burnout in society, particularly the strains of adulthood. This artwork captures the complex emotions associated with societal expectations, offering a powerful commentary on the pressures of navigating a modern life. In addition, her other artworks delve into her relationship with her depression, and anxiety offering a raw and authentic portrayal of this complex emotional landscape through her lens. Through her art, Ilona confronts and articulates in her own word the nuanced facets of mental health, inviting viewers to connect with this universal human experience.
"In the Bloom" is an abstract piece that juxtaposes an abstract female body next to an abstract flower, showcasing the way in which blooming flowers in nature are generally well-perceived, while women blooming just as naturally were not. This artwork confronts societal norms and perceptions of the female form, presenting a powerful commentary on the contrast between the celebration of nature and the often-overlooked beauty of the female body. In its first public display, many viewers were more attracted to the flower than the body, prompting the artist to create her most notably provocative work "An Inappropriate Woman."
This nude photograph serves as a powerful exploration of the complex relationship between her body and society. In "An Inappropriate Woman," Ilona confronts societal norms and challenges the prevalent narratives surrounding the human form. The piece delves into the dichotomy of acceptance and rejection, shedding light on how the human body, particularly the female form, is often marginalized rather than celebrated. The photograph is a statement of her own self-empowerment and defiance, challenging conventional expectations and inviting a reconsideration of societal notions of appropriateness.
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Katie is an artist who has consistently explored and experimented with creative and conceptual actions for over 15 years. One of her earliest public presentations of her art came in the 2009 show Women In Art. In 2011, we collaborated on an e-book and art project el Fleco which explored the artist’s life as the work.


From 2014 to 2016, she was part of the editorial team for the culture magazine BAFFU, an electronic publication which offered a scan of the Belizean contemporary visual art and literature. She contributed poetry, art commentary, and visual art to thirteen issues.


From 2014 – 2017 she single handedly hosted over 100 artists, writers, poets, dancers, and musicians inside the Factri in a creative incubator she called LAB.


I remember Katie sitting in front of this very wall after she wrote in chalk the names of Belizeans who lost their lives to senseless gun violence. She also honored the slain Amandala journalist Kareem Clarke with a wall full of his journalistic writings.


In 2017, Katie exhibited at the international residency called Migration in the UK. In 2018, she wrote “I work within the community to create work for the community.” That year she won the Bridget Jones Travel Award.


In 2021 Katie collaborated with veteran artist Mercy Sabal in an exhibit titled Mothers of Creation and that same year co-created a 4 x 8-foot quilt that is displayed inside the national assembly commemorating 40 years of Belize’s Independence.


In a 2022 Gasworks artist in residence publication, they wrote: “Katie Numi Usher works across performance, sculpture, painting and embroidery to explore blackness and interrogate black female erasure within both the colonial history of Belize and the present day. Usher regularly uses online social media platforms as virtual galleries, challenging the gatekeeping of traditional museum and gallery spaces and providing a space and a platform for other Belizean creatives to connect with both their community and the wider black diaspora.”


Also in 2022, she collaborated with artist Carole Wright on Black Women Creating Audio Resistance.


Text by Yasser Musa/August 2023
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Kirkland Smith is a highly experienced and versatile artist with a strong commitment to art education and community engagement. His extensive practice spanning over 25 years suggests a wealth of artistic knowledge and skill in various media, including acrylic on canvas, pencil, and mixed media techniques.


As an art educator, Kirkland Smith plays a crucial role in nurturing the talents of young individuals across different age groups. His dedication to developing the skills and creativity of aspiring artists in Belize is commendable, contributing significantly to the cultural and artistic landscape of the nation.


Moreover, Smith's collaborative efforts with fellow artists and art institutions demonstrate his commitment to fostering a supportive and thriving artistic community. By organizing and hosting exhibitions for the public, he not only showcases his own work but also provides a platform for other artists to display their creations. This collaborative spirit helps promote artistic expression, dialogue, and appreciation within the community.


Kirkland Smith's role as a champion for art education and community involvement highlights the broader impact that art can have on society, beyond individual creative expression. He is making meaningful contributions to the cultural development of Belize and inspiring the next generation of artists.


Text source: imagiNATION Factri
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Lola Delgado had an understanding mother. When she discovered young Lola using her makeup to paint the walls of their house, instead of punishing her, she decided to buy her real art supplies. Soon, Delgado was using art as a means of communication. Her detailed drawings helped her mother decipher which of Delgado's siblings was at fault when a family fight arose. When she was just eight years old, her father sold her first work of art, a painting of a bird.


Born in Belize City in 1959, Delgado attended St Catherine's School and graduated, only to realize she would need a better-paying job than painting to support herself. She became a freelance writer for the newspapers of Belize City, also doing some photography. She eventually moved to Seine Bight, a small town north of Placencia where she worked from her home for newspapers in Belmopan, often designing attractive advertisements.


In time, she left the newspaper business and began working on the farm of friends Sarah and Jim Ferguson. When Sarah Ferguson's birthday arrived, Delgado made her a special card. Immediately Ferguson asked where Delgado had bought the card. When she explained that she had made it, Ferguson insisted that Delgado sell the cards. The next day, Ferguson took twelve to town, sold them all and received an order for five dozen more. It was at that point that Delgado decided to prove herself as a painter.


Today, Delgado paints in acrylic, although she used oil to produce her first fifteen years of work. She is happier with acrylic, however, because it dries faster and is better for the environment. Delgado draws considerable inspiration from where she lives. She is surrounded by the sea and the lagoon, flowers and herons, foxes and raccoons and all of this wildlife helps to keep her brush moving.


Delgado's subject matter varies. But often, she will paint a group of women standing by the seashore. There are usually three or five and they are always colourfully dressed, decorated in jewels and wearing elaborate hairstyles.


Delgado has always been inspired by the life and work of Frida Kahlo. She painted one work in honour of Kahlo and it was discovered by a tourist who took it to a gallery in SoHo, New York City. Delgado runs a small bar attached to her studio called Lolas Art and in 2001 she wrote and illustrated a children's book called Belizean Kat Tailz. She has shown her work in Belize City.



Text: Maggie Turner | Made In Belize | 2007
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Manuel Gonzalez, known as Manolo, grew up in Havana, Cuba. Born in 1966, he took art as a young child at school and eventually attended the Institute Superior de Arte in Havana. Gonzalez's focus was always painting, but he also studied art history, ceramics, sculpture, lithography
and design.


In 1993, Gonzalez travelled to Belize to illustrate children's books for the publishing house Cubola Productions. He stayed for four months and enjoyed himself. In 1996, he returned to work again for Cubola Productions, this time drawing geographical maps of Belize. Finally, in 1997, he moved permanently to Belize and has been living and working between the easternmost Dangriga and westernmost Benque Viejo for ten years.


Today, Gonzalez paints in acrylic, oil, ink and crayon. His show at the House of Culture in Benque, in August 2004, included four types of work: detailed Belizean landscapes from famous sites such as the Cockscomb Basin; abstract geometrical pieces; paintings that explored his ideas about senses, dreams and fantasies; and portraits of local characters. Gonzalez has accepted that strangers don't always appreciate having their picture taken so he doesn't rely on photographs When he sees a face and is certain he wants to paint it, he memorizes it and runs home to get it down on paper. He captures many familiar faces from Dangriga: Rastafarians, drummers, dancers and people on the street. Gonzalez says that, as a painter, he is influenced by his surroundings, and when he moved from Cuba to Belize, he became more interested in painting the abundance of faces and personalities he saw.


Gonzalez is also interested in digital imagery, space planning and product development, all of which he works on with friend Norman Smith in their design company, Imaginative Works.


Gonzalez has shown his work in Belize, Cuba, France, Germany, Italy, Russia, Spain and Yugoslavia. His paintings are fundamentally hopeful. He says of his work, "While living in a world with violence and wars and ambitions, maybe I can try to build another world with peace and colour and light."


Text: Maggie Turner | Made In Belize | 2007
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Michael Gordon's initial works, done with pencil on cardboard, were depictions of the diverse surroundings he experienced while living at two impoverished addresses as a child. Born in 1962, Gordon taught himself to draw at an early age, sold his work on the street and quickly became well known on the south side of Belize City. Today, he continues to be inspired by the faces and events he encounters on the street.


Gordon works with acrylic, oil and pastel. When he uses acrylic, he often adds water to make a consistency that meets his needs. Gordon has studied printmaking and is a talented wood carver, often creating large totem heads, boats, birds and snakes in mahogany.


One of Gordon's greatest attributes is his rate of production. He is working in all mediums at all times. He can be found at the Image Factory with a painting in progress and two new sculptures in hand. In 1998 and 1999, he worked on a project involving 227 miniature portraits. They depicted faces that Gordon had seen in the neighbourhood or had found in books. A group from that larger collection has recently been shown at the Bliss Center for the Performing Arts in Belize City.


Gordon says that art is his trade, but more important it is his nature to contribute. His ambition is to serve as a pillar of the Belizean arts community and continue in his philanthropy. He has shown his work in Belize, Cuba, the Dominican Republic, Mexico, Spain, St. Kitts, Taiwan and the United States.


In December 2005, a show called Detritus revealed his and Cornelius Magnus's talent for working with recycled materials.


Gordon admits that only half of his pieces meet his satisfaction. He explains that "art takes time" and overall, artists have to be devoted to fulfilling their goals. When asked what drives him to produce, Gordon replies, "Beauty."


Text: Maggie Turner | Made In Belize | 2007



BELIZEAN LEGENDS SHINING STARS! BELIZEAN ARTIST EXTRAORDINAIRE MICHAEL GORDON!


By Bilal Morris
Facebook post, 2019


I am a legend that you never ever heard about...I'm a hero that nobody celebrates. - Chronix


Michael Gordon, this outstanding Belizean artist extraordinaire, whom yours truly was so blessed to have known from childhood, has transcended race and politics in Belize to become one of Belize's most talented artists to date.


His amazing development as a Belizean artist appeared to have developed rather haphazardly being discovered rather by accident by another one of Belize's most astute and talented artist himself, Yasser Musa. Since it appears that only an artist can see an artist undiscovered as the visionary in Musa detected in Gordon who appeared to have been thrown out of the mainstream Belizean artistic society through ignorance. Gordon struggled socially against poverty and rejection on the streets of Belize City in the 1970s sketching memories of his oppression on thrown-away pieces of cardboard that became his canvas. What came out, however, from the brilliant mind of this son of Belizean soil was masterpieces of art that maybe only Musa could immediately recognize as talent.


Michael Gordon and his late brother, Osborne Gordon, came from a very poor but humble Belizean family on the Southside of Belize City during the 1970s. His mother who sadly passed away when Mike was just a boy may have had a serious impact on him during his troubling years as an unrecognized Belizean artist who use to sit on the sidewalk of the streets of Belize City and draw these masterpieces just from his brilliant artistic mind.


A Belizean as myself would stop by him in the late 1970s and watch him sketch quietly these well-acquainted Belizean landscapes, faces, and geography of a quiet and peaceful city. We would chat, and he remembered me well who use to visit their home with his older brother Osborne who was a classmate of mine. Osborne was sadly murdered some years ago, and 'Burn' as we use to call him, was brilliant in Math as an elementary school kid, and had helped me with my math homework many times. Someone like him was robbed of his future by a system that cast away talent that finally ended up lost in the social injustice of Belizean society.


But Michael was a natural artistic talent, who in the memory of his dear mother whom had also died very young, and was a close friend of my mother, would later on become this Belizean artistic figure in Belize today, thanks to the visionary work of Yasser Musa in giving him that chance like a lot didn't get in Belize to shine.


It is most appreciative to have gotten permission to use the portrait here for my expose done by another brilliant Belizean artist, Gilvano Swasey, who did this incredible masterpiece of a portrait of Michael Gordon. This was touching for me to see.


From the deepest qualities of our hearts here at Belizean Legends we say, As Salam Alaikum, peace be unto you both Michael Gordon and Yasser Musa.
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Michelle Perdomo was born in America, in Bishop, Colorado, in 1948 and moved to Belize in December 1969 after marrying her Belizean husband. They met the first day of classes at Loretto Heights, a private Catholic college in Denver, Colorado, now called Teikyo Loretto Heights University. They married the day after graduation. Perdomo became a teacher for St. John's College in Belize City, and is now the director of the school’s art centre, the Belize Center for Art Education and Cultural Understanding.


When Perdomo began teaching thirty-eight years ago, there was no art department of any kind at St. John's College. Perdomo took it upon herself to establish one. At that time, students could choose between study hall and art. If they chose art, the class was held in a closet-sized room with one window. With Perdomo's leadership, the art facilities began to improve. A new classroom was created in the gym. The space wasn't perfect — there were bats, crabs and mosquitoes, as well as water when it rained, but the room was packed with enthusiastic students who had never been given this creative option. Today, students are offered art classes during the three uppermost levels of high school and they can major in art at the junior college, a choice that more and more students are making.


In May 2001, after thirty-two years of teaching and perseverance, Perdomo saw another of her dreams come to life with the opening of the Belize Center for Art Education and Cultural Understanding. This national institute is dedicated to the visual arts and is located at St. John's College. At last, Perdomo had an entire building to foster artistic learning and development in Belize.


Perdomo described her central focus as the art of teaching. She did many paintings and drawings, but felt her role in Belize was to encourage the arts. Perdomo's son is the talented Damian Perdomo and she taught many of Belize's most important artists, including Yasser Musa and Gilvano Swasey.


In addition, Perdomo ran an art program for young convicts. She taught them wood carving, sculpture and other hands-on skills once a week. She also travelled to the six districts of Belize and helping teachers discover ways to use art in the classroom. She taught night classes and summer sessions for adults as well.


Text: Maggie Turner | Made In Belize | 2007
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Nelson Young's first medium was wood. While in school, he helped his grandfather, Peter Young, build boats for local fishermen. He also studied religion, history and geography, and he began making art.


In his late teens, Nelson, who was born in 1959, moved to New York City and became the foreman and production designer for the company impressions in Wood, which made and sold wooden furniture. During his years in New York, he visited galleries and museums all over the city. He recalls being "inspired by the creative energy of the whole world." He paid particular attention to artists working with paint, a medium he had never tried.


In the early eighties, Young returned to Belize and settled in Caye Caulker, where he taught himself how to paint in oil on canvas. Today, many of his works reveal a Cubist style. Young often divides his canvases with lines and strokes that fragment the subject and distort the viewer's sense of space. Young paints landscapes, fish and, most often, faces. He feels that faces lead to other mysteries in life. Young states, "in looking at a face, you can meet angels and get to know one another through the heart."


Young is a spiritual artist. At one point, he was influenced by the Rastafarian culture, "seeking truth." Later, he channelled his energy into the New Testament. He believes that "all you need is a good heart and clean hands and you shall see the creator."


Young believes that Belizean art is beginning to flourish, but the poverty he has witnessed in Belize takes precedence. Although he is keenly invested in art, he prefers to help people directly; he wants to "make the building of a house more important than the construction of a museum." While he speaks, an adolescent girl enters his house and receives a helping of food.


Young has shown his work in Belize, Norway, Sweden and Taiwan. Young says of his place in the history of art, "If you are a farmer, you plant seeds and hope they will grow. If you are a painter, you paint and destiny will do the rest."



Text: Maggie Turner | Made In Belize | 2007


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Originally from Belize, I was born to a Scottish father and a Belizean mother. My name is Jeannie Shaw. Growing up in the Caribbean gave my life lots of colour and diversity, all of which brought me to who I am today.


Life is filled with highs and lows. Dad once wrote a poem to me about honouring the peaks and valleys of it all. Some of my valleys called me to seek, embrace and immerse myself in light. I yearned to be around people, places, things and events that make me feel alive.


One night, as I was finishing errands, I had a clear vision of myself writing and the words Nourish Me Sweetly followed. That’s all I wanted, to be sweetly nourished – and here we are.


Nourish Me Sweetly is a platform to share experiences through blog posts, poetry and videos in hopes that they will touch hearts and raise vibrations. These will all culminate into a book one day and I’d so love for you to be a part of this journey with me.


As much as I love to share what I learn, I don’t always practice what I preach. So, trust me, it takes a lot of courage to share when you know you’re still a work in progress on just about everything you share.



Text source: https://www.nourishmesweetly.com/about


www.jeannieshaw.com
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Pen Cayetano's first passion in life was music. He was inspired by his father, a musician, and in the early Eighties, he formed, and was the lead singer and guitarist of, the Turtle Shell Band. The band became most famous for popularizing Punta Rock, a type of Belizean dance music that combines traditional Garifuna rhythms with aspects of modern rock. Cayetano recalls that Punta Rock became widespread on the eve of Belize's Independence in 1981.


Cayetano's interest in art also started early. Born in Dangriga in 1954, he began to draw when he was seven and paint when he was fourteen. Today, he is a self-taught painter who works primarily in oil on canvas.


Initially, Cayetano was impressed and influenced by the artwork of Salvador Dali. Soon, however, he began to use Belizean traditions and Garifuna history as his subject matter. He then studied with another Dangriga-based oil painter, Benjamin Nicholas. Cayetano's paintings present scenes of everyday life: fishing, the market, cooking, traditional holidays and events.


In November 2003, he had a show at the Mexican Cultural Institute that exemplified his style. Forty-eight paintings depicted young Garifuna women in bright dresses, the ceremony of Wanaragua (in which people dance, sing and worship wearing coloured masks) and Belizean history. One painting showed loggers moving mahogany through old Belize City. Other paintings explored Cayetano's response to the present world situation. A painting called Stop Violence Now aggressively addresses the abundance of recent violence, including the bombing of the twin towers in New York City and the burning by arson of a building in Belize. The painting was intended to upset viewers, and make them passionate about change.


Cayetano has shown his work in Austria, Belize, China, England, Germany, Switzerland and the United States.


Text: Maggie Turner | Made In Belize | 2007
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Rachael Heusner says, "Whenever you get stuck, pick up a book, learn something new, apply it and move on." Heusner was born in Belize City in 1969. She always liked to draw but it was when she turned sixteen and received her first painting set that she really began to explore. Heusner took classes with Michelle Perdomo at St. John's Junior College in Belize City. She moved on to study art briefly at Santa Monica College in California before returning home to Belize to train teachers in art education.


Heusner also continued painting on her own and decided to open Rachael's Art Gallery on Albert Street. Her objective was to promote young Belizean artists. The gallery was well received by Belizeans and foreigners and helped many artists gain recognition.


In 1996 Heusner was invited to Carifesta in Trinidad, an art fair that takes place every five years and features artists from around the Caribbean. There, Heusner met her husband, a local painter. A year later, they married and moved to Tobago where they now own and operate The Tobago Art Gallery, representing fifteen artists from Trinidad and Tobago. Although Heusner has been in Tobago for the past ten years, she makes annual trips to Belize to see family and show her art at home. She mentions that in Tobago they keep insisting that she get a native passport and she says, "No. I am a Belizean. It is the good life."


Heusner's principal medium is watercolor, although she has recently begun to work with oil paint. When she needs a break from everything, she does collage. She describes her subject matter as "Caribbean stories," and says she wants to represent culture that is uniquely Caribbean but that illustrates and honors what all Caribbean islands and countries share in common. Heusner frequently uses photography to capture possible subjects, sometimes leaping out of her car and stopping traffic to capture an image.


Heusner has shown her work in Belize, Barbados, Honduras, Mexico, Tobago, Trinidad and recently New York City. In the future, she would like to pursue more historical, even nostalgic, paintings of Belize.


Text: Maggie Turner | Made In Belize | 2007
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Shalton Arana's journey into the vibrant world of painting commenced at the tender age of 19, sparked by the encouragement of a seasoned man named Kim Kinberlyn. Inspired and driven by his newfound passion, he swiftly delved into the realm of Garifuna paintings, a creative endeavour that would shape his artistic path for years to come.


In July 2001, Shalton proudly showcased his early works alongside Raymond Gomez at the El Café in Belize City, marking the inception of a prolific career. Over the subsequent two decades, his artistic odyssey led him to numerous exhibitions, both solo and collaborative, where his original pieces captivated audiences far and wide. From bustling city galleries to intimate community spaces, Shalton's creations found resonance among art enthusiasts and collectors alike.


Initially armed with a palette of watercolours interwoven with the precision of sharpie markers, Shalton's artistic repertoire evolved with time, fuelled by the unwavering support of mentors like Marcelino Miranda from the Mexican Institute and Emelda Usher from the National Handicraft Center. Their encouragement bolstered Shalton's resolve as he navigated the intricate landscape of artistic expression, fostering a spirit of collaboration and camaraderie within Belize's vibrant art community.


A defining feature of Shalton's work was his deliberate omission of eyes from his subjects, a symbolic gesture reflecting his belief in respecting privacy and eschewing voyeurism. Through his distinct visual language, he conveyed narratives of community, familial bonds, and the timeless essence of Garifuna culture, imbuing his creations with a sense of hope and unity that resonated deeply with viewers.


As noted by art curator Gilvano Swasey in 2012, Shalton's oeuvre transcended mere representation, embodying a fusion of folk aesthetics and illustrative storytelling. His figures, devoid of explicit identity yet brimming with emotion, served as vessels for collective experience, inviting viewers to immerse themselves in the tapestry of Garifuna heritage that he so passionately depicted.


In his own words, Shalton described his art as a celebration of colour and a testament to the unifying power of creativity, transcending boundaries of race and ethnicity. Each brushstroke, imbued with the essence of his cultural heritage, served as a beacon of inclusivity and harmony in an increasingly fragmented world.


Amongst those drawn to Shalton's work were children, enchanted by its simplicity and vivacity, finding solace and inspiration amidst the turmoil of the world. Even amidst the challenges posed by the Covid-19 pandemic, Shalton's dedication to his craft remained unwavering, his canvases becoming a sanctuary of creativity and resilience in uncertain times.


Tragically, Shalton's journey came to an untimely end on the 4th of October, 2023, leaving behind a legacy that transcended the confines of time and space. Born on the 27th of February, 1973, his life was a testament to the transformative power of art, a testament to the enduring legacy of creativity, and a reminder of the profound impact one individual can have on the world around them.
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This writer once observed that "sails billowing in the wind, sun and storm-drenched sea and sky; the Belize River bustling with activity; chocolate-brown Afro Belizean men and women moving to dance; honey-brown Mayan Belizean women cooking, sitting, standing; Belizean swamps and forests; Belizean villages and cayes; hurricane ravaged Belize" have all been subjects depicted by Densle Wilbert Belisle "Louis Belisle" in oil on canvas. "If they could all be collected into one room an appropriate title would be 'In Celebration of Belize." Together with his still life of temperate fruits, portraits, abstracts, pen and ink cards immortalizing the Christmas Bram, and so on, they would represent some seventy-five years of development as an artist.


Belisle was born in Belize City on October 1, 1911. He was raised by his grandmother. It was during this time that he was nicknamed "Louis" after a favorite uncle. He later decided to write his surname B-elisle putting the stress on the first syllable.


He began to paint from age five in Punta Gorda. "Dories and such" were his themes. "To get colours "he used to dip chalk in red and blue inks." Another favorite theme was horses. Horse racing was a very popular sport in his youth. He used to draw the winning horse on the black board at Holy Redeemer School where he was a student. The urge to paint was a have "an outlet for (his) frustration." He had begun experiencing much loneliness. Life was not easy for B-elisle. Because he had to learn to fend for himself at a very early age, his sense of independence developed very early too.


In the 1930s he came under the influence of a merchant named McClean, owner of the popular Harley's Store. McClean had studied art in Germany and began giving art classes around Belize City. He introduced Belisle to oils.


B-elisle never stopped painting even during his sojourn in Panama where many young Belizean men went looking for work to improve their financial conditions. In 1958 he sold one of his major works entitled "Island" to Vernon Leslie, Resident Tutor of the UWI Extra Mural Department as a gift for the Mayor of Santa Elena, Cayo.


Finally in 1965 his break came and he considered that as the year that he began painting professionally. The first ever art exhibition was held in Belize City. There were three categories. Participants were expected to paint a known part of the colony, one of the natural species and a recognized personality. Belisle dominated all three categories with his depictions of the Swing Bridge, the fish known locally as "Old Wife," and his self-portrait. The result was a British Council scholarship to study for four months at Hornsey College in London, England. His performance was so spectacular that he was awarded a second scholarship to do sculpture. Commenting on that time in England to one interviewer he said, "You cannot teach a man how to paint. You can encourage him and he will make his own development by himself. What happens in school is that a person learns how to use materials so he is better equipped."


Belisle's contribution to the development of painting and drawing in Belize was Multiple. At varying times, from his return from England until his death, he taught art for the Extra Mural Department, at his own studio which he opened in 1975 at the corner of Douglas Jones and Castle Streets, and around the country. Adults and children studied with him. Goshen College, located in the US, used to place some of their students with him. Philip Lewis was one of his students and they remained good friends. His classes were lively, practical, down-to earth. He knew how to improvise in the absence of materials.


There is no question that Belisle was a prolific painter filling hundreds of canvases with his images and visions. He produced a series of twelve pen-and-ink cards depicting the Belizean Christmas Bram and sold copies of them. From about 1967 he mounted annual exhibitions. In 1983 he attended and exhibited at the Fulton Arts Fair in Brooklyn, New York.


Looking at Belisle's work one sees hints of Paul Gauguin in his Mayan women, of Claude Monet in his reflections on water, of Rene Magritte in his compositions combining trees, buildings and reflections, of Jean Baptiste Chardin in his stillifes’, and so on. Not exercising power over people, Belisle recognized something that the political nationalists could not afford to see or admit. Independence does not mean heading off into a cultural cul-de-sac. He grasped that it was on the backs of indigenous peoples and African slaves that Europe built its wealth which allowed art to thrive. He recognized African, Oriental and other influences in the great European masters. His daughter Leonie, remembers him saying, "I'll be better than Gauguin". In the eyes of his young heir, Yasser Musa, it is "his courage to appropriate all art without any insecurity" as all the great artists have done that is his greatest achievement. As this author has said before, "By so doing he placed Belize squarely in the tradition of Western art and by extension world art".


Art historian Marcel Brion has observed that "Generally speaking, the greater an artist, the more fruitful his capacity for renewal." Belisle was constantly self-renewing. He did not allow himself to be bound by any particular genre or style. His daughter says that when he first went to England he was upset of having to paint nude models. Within a short time that reticence left him. In Belize he used his wife as a model. She used to get up at two and three in the morning to pose for him so that he could capture drawing the line of her back. With eight children, posing in the day was problematic. While most of his work was realistic, he ventured occasionally into abstract painting. He experimented with using other equipment, for example a knife instead of a brush. He was not afraid to go and study at fifty-four. At seventy-four he went looking for new markets in the US.


Belisle considered a place to study techniques, materials, etc, and a place to exhibit one's work essential to the development of existing artists and the formation of future ones. This preoccupation led him to join forces with other artists and the UWI Extra Mural Department in 1980 to petition the Belize Government to establish an art complex where the mental asylum had been located at the Barracks. During the filming of "Dogs of War" explosives had been used on the historic buildings and they were demolished.
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When Terryl Godoy was fifteen, his brother challenged him to a drawing contest. Godoy drew a portrait of a dog that had grabbed his attention. Terryl's father was so impressed that he asked an older son, then living in America, to send art supplies, which were hard to come by in Belize. After they arrived, Godoy began to visit with Percival Cain, a painter who lived down the street, and who taught him basic skills. Godoy, one of thirteen children, over time began to disagree with his brothers, so he left home.


After moving into a room at his grandfather's house in another part of Belize City, Godoy began taking his paints to the street. He created realistic versions of the architectural and social vitality of Belizean streets: the houses, buildings, people, cars, telephone wires, laundry lines and blue skies that are characteristic of the country. Godoy sold his paintings from his house for about thirty-five dollars apiece. One afternoon, an admirer offered him the chance to have a show. Two years later, when he was just nineteen, Godoy had his first show at the Bliss Center for the Performing Arts. Every painting sold.


A few years later, Godoy decided he wanted to see more of the world. With thirty paintings in tow, he set out for Cancun, Mexico City and London. Godoy fell in love with London and wanted to continue on to Spain and Germany, but his funds were running out. Referred to a couple in Kent, Godoy swiftly painted a portrait of their house in return for lodging and a ticket to Spain. For three months Godoy travelled and sold his work in Spain, Germany, Belgium and the Netherlands. In 2002, he travelled to Trinidad, St. Lucia, St. Vincent and Barbados where he painted large public murals and taught painting.


Today, Godoy paints street scenes similar to those he completed when he was just seventeen. Now, however, he wants to capture and preserve in paint the older buildings in Belize before they are blown away by a hurricane, destroyed by fire, or redone in the sturdier cement style that is becoming more popular today.


Godoy signs his paintings "Man at Work," because when he began painting, the overpowering heat on the street made him feel like a municipal construction worker. Most days, cool weather or hot, you can still find him working on South Street.
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1. Why is the location of MOBA significant?


Built in 1815, MOBA's location holds historical importance, as the old Government House. Initially constructed for a Superintendent of the Colony, it replaced a wooden house near the Belize River due to accessibility concerns. Surviving hurricanes in 1931 and 1961, it stands across from St. John’s Cathedral in downtown Belize City.


2. Was Government House a public space?


No, it primarily served the colonial elite, granting access only through special invitations for official and social events.


3. What significant historical events took place at Government House?


The Emancipation of enslaved Africans was observed on August 1, 1834, and Belize celebrated its Independence on September 21, 1981, on its grounds.


4. What was the past use of the MOBA building?


Originally named the House of Culture in 1998, it became a community center upon opening to the public, managed by the government.


5. How were artworks selected for the Museum?


The National Institute of Culture and History (NICH) developed a collection since 2003. Sixty eight artworks were carefully chosen for the MOBA's opening exhibit, focusing on diversity, inclusivity, and equity. The exhibit was curated by Gilvano Swasey and Al Peyrefitte.


6. Where do artists originate, and what materials do they use?


Artists featured in the exhibition hail from across Belize, employing diverse materials such as wood, slate, stone, oil, watercolor, acrylic paint, photography, and mixed media.


7. What is the purpose and focus of MOBA?


MOBA serves as a host for art and a catalyst for cultural transformation, situated within walls bearing witness to a colonial past. It aims to decolonize and revitalize these spaces.


8. Why establish MOBA now?


As Belize's cultural landscape evolves, embracing the creative economy is crucial. A dedicated museum elevates the role of Belizean artists, contributing to the development of visual arts in the country.
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The Museum of Belizean Art aims to inspire creativity, understanding, and community enrichment through artistic projects, educational programs, and outreach efforts.
With its mission to engage and educate, MOBA emphasizes contemporary art as a tool for inspiration and upliftment, aiming to transcend spatial boundaries and resonate in the present. The museum envisions itself as an inclusive hub for cultural and social experimentation, fostering dialogue, appreciation, and promotion of Belizean arts while also playing a crucial role in decolonization actions, breathing new life into historically laden spaces.
MOBA seeks to collect, research, and preserve emerging artists' works, furthering its dedication to the cultural and social advancement of Belize.



NICH Mission


NICH is Belize’s premier cultural institution dedicated to the safeguarding, promotion, expression, conservation and sustainable development of culture in all its diversity in collaboration with the people of Belize.


A Belize that embraces and promotes Our Cultures, Our Values, Our Identity, Our Prosperity in a global community.
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Acknowledgements


The Museum of Belizean Art (MOBA) wishes to acknowledge:


Hon. Francis Fonseca, Minister of Foreign Affairs, Foreign Trade, Education, Culture, Science and Technology


The Board of Directors of the National Institute of Culture and History (NICH) – Albert Vaughan, Arreini Palacio, Jaylan Craig, Carlo Habet and Kirkland Smith


Ilona Smiling, Director of the Museum of Belize and Houses of Culture and her staff


Gilvano Swasey and Al Peyrefitte, Curator and assistant Curator of the MOBA


Jovan and Farah Guerrero, Partners, Salient Group LLP


Gabriel Guerrero, Creative Director, Salient Group LLP


Yasser Musa, co-ordinator, MOBA project
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Acknowledgements


The Museum of Belizean Art (MOBA) wishes to acknowledge:


Hon. Francis Fonseca, Minister of Foreign Affairs, Foreign Trade, Education, Culture, Science and Technology


The Board of Directors of the National Institute of Culture and History (NICH) – Albert Vaughan, Arreini Palacio, Jaylan Craig, Carlo Habet and Kirkland Smith


Ilona Smiling, Director of the Museum of Belize and Houses of Culture and her staff


Gilvano Swasey and Al Peyrefitte, Curator and assistant Curator of the MOBA


Jovan and Farah Guerrero, Partners, Salient Group LLP


Gabriel Guerrero, Creative Director, Salient Group LLP


Yasser Musa, co-ordinator, MOBA project
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Come Visit The Museum


The Museum of Belizean Art (MOBA) NICH proudly announced its opening and inaugural exhibition on April 17th, 2024, presenting the works of 68 artists whose works span over seven decades. The Museum, now offically opened to the public, welcomes you to visit in person and learn more about the art on display.
While on site you will have access to our tour guides who are eagerly waiting to share with you all of the wonderful stories and historical significance surrounding the art pieces.


MOBA opens from 9am to 4pm Monday to Friday.


FEES:


Tourists - $10US
Belizeans - $10BZ.
Children under 12 enter for free.


MOBA is located at 71 Dr. Dame Minita Gordon Drive, Belize City, Belize
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Dame Elmira Minita Gordon


Dame Elmira Minita Gordon GCMG GCVO JP (30 December 1930 – 1 January 2021) was a Belizean educator, and psychologist; she served as the first governor general of Belize from its independence in 1981 until 1993.


She graduated with a PhD in applied psychology, a first for Belize, from the University of Toronto in 1980, becoming the first trained Belizean psychologist.


She was the first woman to serve as governor-general in the history of the Commonwealth.


In addition to her public works, Gordon was a master leather crafts artisan, having won numerous prizes for her works.


The National Institute of Culture and History (NICH) honours and pays respect to Dame Minita Gordon in this Museum of Belizean Art with the displaying of her portrait.
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Benjamin Nicholas- Mr. & Mrs. Elejo Beni & Family


Oil On Canvas
147 x 96 cm
2003
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Frequently asked questions about MOBA



1. Why is the location of MOBA significant?


Built in 1815, MOBA's location holds historical importance, as the old Government House. Initially constructed for a Superintendent of the Colony, it replaced a wooden house near the Belize River due to accessibility concerns. Surviving hurricanes in 1931 and 1961, it stands across from St. John’s Cathedral in downtown Belize City.


2. Was Government House a public space?


No, it primarily served the colonial elite, granting access only through special invitations for official and social events.


3. What significant historical events took place at Government House?


The Emancipation of enslaved Africans was observed on August 1, 1834, and Belize celebrated its Independence on September 21, 1981, on its grounds.


4. What was the past use of the MOBA building?


Originally named the House of Culture in 1998, it became a community center upon opening to the public, managed by the government.


5. How were artworks selected for the Museum?


The National Institute of Culture and History (NICH) developed a collection since 2003. Sixty eight artworks were carefully chosen for the MOBA's opening exhibit, focusing on diversity, inclusivity, and equity. The exhibit was curated by Gilvano Swasey and Al Peyrefitte.


6. Where do artists originate, and what materials do they use?


Artists featured in the exhibition hail from across Belize, employing diverse materials such as wood, slate, stone, oil, watercolor, acrylic paint, photography, and mixed media.


7. What is the purpose and focus of MOBA?


MOBA serves as a host for art and a catalyst for cultural transformation, situated within walls bearing witness to a colonial past. It aims to decolonize and revitalize these spaces.


8. Why establish MOBA now?


As Belize's cultural landscape evolves, embracing the creative economy is crucial. A dedicated museum elevates the role of Belizean artists, contributing to the development of visual arts in the country.
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Ilona N. Smiling - An Inappropriate Woman


Photography
60 x 121 cm
2015
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Melody Sanchez Wolfe - Untitled


Acrylic On Canvas
50 x 75 cm
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Nelson Young - Watermelon Mechanism


Oil On Canvas
71 x 59 cm
1992


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Noel Escalante - Garifuna Skirts Blowing In Windy Rain
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R F Greenwood - Straw Hat - Janice Claire


Paint On Wood
38 x 43 cm
1984
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Rasheed Palacio - Illusion Of Happiness


Mixed Media
66 x 52 cm
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katie numi usher - i tried to help you. you're impossible!! well thanks for your minimal effort i guess.


Stitched fabric
Variable size
2023


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Anthony ‘Rojo’ Vacaro - Stone Head


Flint Stone
Variable size
2021
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Nichole Gallego - Three Angels


Acrylic On Canvas
66 x 48 cm
2007
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Rudolf Rodriguez - Voices Within


Acrylic on Canvas
61 x 51 cm
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"I am a proud African Garifuna woman," announced Mercy Sabal as she explained her history and the story of her dolls and quilts. Sabal was born in Dangriga in 1955. She began to crochet and embroider at the age of fifteen and was soon making sweaters and caps for babies and shawls for women. Sabal's family eventually moved north to Orange Walk where she began working at the local hospital and became a qualified midwife and nurse. In her spare time, she took sewing classes and cleverly brought her creations with her to the hospital. In the maternity ward, she sold many.


In her late twenties, Sabal learned how to make dolls, initially to generate income. In time, however, she developed an original pattern and individual style. She aimed to emphasize her own Garifuna heritage and encourage those who were straying from their roots to revisit the culture. The dolls' wardrobes are made with a sewing machine and Sabal uses her own scrupulous hands for the bodies and decorations. The dolls are often adorned with colourful beads and feathers, polka-dotted or flowered fabrics and props.


At age thirty, Sabal learned how to quilt. At first, she was simply putting cloth together, hand-sewing everything initially and then using a machine to retrace her stitches and make them stronger. However, over the past ten years, Sabal has begun to make her work more intricate and personal. She continues to use Garifuna culture as her subject but today she layers cloth together in unusual ways. Sometimes she will invent a theatrical scene that includes characters and often a plot. Other times, she will make a pattern that at first appears perfectly geometric but that actually has a number of details that artfully stray from the primary configuration.


Occasionally, Sabal gets overwhelmed with commissions and then asks friends to help, including her husband, Salahuddin Norris. Often, she will come up with an image for the quilt, Norris will stencil it on paper and then Sabal will work from his picture and begin to piece the fabric together and sew.


Sabal says, "I put myself in art." She finds it very rewarding when someone comes along who identifies with all she has put into a doll or quilt. When the viewer understands where she is coming from, the connection between the artist and the viewer is "magical."


One of Sabal's quilts travelled to Washington, D.C., and Taiwan to represent the Image Factory of Belize and Caribbean arts in 2001. In July 2004, she had her first solo show at the House of Culture in Belize City.


Text: Maggie Turner | Made In Belize | 2007
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1956 in Ahrweiler, Germany
Ingrid Cayetano studied art from 1976 to 1980 at the University of Applied Sciences in Cologne, Germany. Early 1981, the year when Belize gained Independence, she visited Belize and met her husband legendary artist and musician Pen Cayetano from Dangriga.


She became the first manager for the Turtle Shell Band, the group that created the now Caribbean famous and national genre of Punta Rock.


Ingrid Cayetano has a unique method of presenting ideas in her needle paintings. She experiments and combines old techniques with new materials. The fabrics tell a story and are ´painted´ with thread and needle. Ingrid’s various subjects are cultural, emotional, and mostly realistic. Creations are inspired and linked to the artist’s surroundings for example mother and child scenes, portraits - especially extraordinary women, presentation of cultural and historic subjects like dances and rituals.


Since 1978 she has been doing performances and exhibitions in Germany, Europe and abroad. Besides being an artist, Ingrid Cayetano is the coordinator, manager, mother of three and a member of the family band “The Cayetanos”. Along with her son Ibo she wrote the children book stories “We are free” and “Wanaragua” which were illustrated by her daughter Malí.


Since 2009 she and her husband welcome visitors at their colonial style Art Studio and Gallery in Dangriga presenting their art and the Garifuna Culture.


She shares her art with younger children and adults who attend her training classes hoping that many more young folks from all over Belize would like to learn this art-form and produce their own pieces and enrich the world of arts in Belize.
Under her own label Ms. Ingrid’s she offers her homemade jams and jellies and every March she organizes the ‘Women in Art’ event in Dangriga.
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Adrian Barron emerges as a multi-faceted artist whose work spans the realms of prints, moving images, and site-specific creations. His inspiration drawn from the concept of the garden as a Heterotopia (a space of otherness) reveals a fascination with the intricacies of nature and the perpetual changes inherent in it.


The choice of the garden as a source of inspiration implies a focus on a microcosm that mirrors the broader complexities of the natural world. Within this small-scale environment, Barron explores the notions of constant flux, ambiguity, and the coexistence of repetitive, predetermined patterns with mutated and unpredictable elements.


The prints, moving images, and site-specific works created by Barron embody this ambiguity, prompting viewers to question the very essence of 'nature.' His exploration delves into the roles humans play in shaping and interpreting nature, as well as the deceptive aspects and resulting phenomena within the larger context of our world.


Adrian Barron's background, with dual Belizean and British nationality, reflects a diverse cultural and geographic perspective. His interest in natural history, particularly entomology and mycology, intertwines with his current profession as a freelance gardener and garden designer, further emphasizing the connection between his artistic practice and his engagement with the natural world.


Active participation in artists' collectives such as Zero and Landings in the Caribbean, as well as being part of the international arts group Beyond the Gallery, signifies Barron's commitment to collaborative artistic endeavours. In Belize, his co-founding and coordination of the Earth Art Sculpture Park 'Poustinia' in the jungle underscore his dedication to creating spaces that blend art with nature, fostering a unique and immersive artistic experience for the community and visitors alike.


https://adrianbarron-artist.co.uk
https://chasemagsy.wordpress.com/2019/10/01/i-think-i-have-had-quite-an-exciting-journey/
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Although Eduardo Alamilla was never formally taught how to paint, his realistic cultural renderings have made him one of the best-known painters in Belize. Alamilla, known as Papo, was born in the village of San Pedro, in Ambergris Caye in 1964.


He has been a serious painter since the mid-1980s, learning from practice and experience. Alamilla got his first break painting signs for the liquor store Traveler's Limited in Belize City. His early exposure to the vibrant colours and dynamic scenes of Belizean life ignited his passion for capturing the essence of his homeland on canvas.


Alamilla paints in acrylic and oil and chooses to depict what he describes as the "culture of Belize." His work celebrates men scaling fish by the sea, young boys playing marbles in the sand, a Mayan mother and son walking down the street, and the elegant jaguar known to Belize. Alamilla discovers subject matter in his imagination and from photographs, infusing each piece with a sense of authenticity and nostalgia. His capacity to depict the happenings of Belize realistically is powerful and offers a window into the life of the small Caribbean country.


In 2007 Alamilla worked on a series of paintings that illustrate what San Pedro looked like twenty-five years ago. Working from black and white photographs collected by his family and old records from San Pedro archives, Alamilla was able to re-create, in colour, historical paintings of the village that in more recent years has become a town overflowing with people, construction, and tourism.


Alamilla has showcased his work in various locations throughout Belize, including the Bliss Center for the Performing Arts and the House of Culture in Belize City. He aims to continue exhibiting his work in the future, sharing the beauty and richness of Belizean culture with a wider audience.


Adapted from the Text: Maggie Turner | Made In Belize | 2007
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Anthony Joseph Vacaro started the work of art in 1962 alongside his older brother Joseph. They both started making capirucho (a toy made from wood and string), which was sold at a cost of 25 cents and 50 cents. From a very tender age they felt responsible and independent. Since they were left in the care of a foster parent with minimum financial support from their parents as they ventured off to chicle camp. Anthony loved learning and producing new types of art. In the late 60’s he started producing chicle (chewing gum) in the form of animals, a skill he learned from Mr. Selvin Jeronimo. In the early 1970’s he met up with Mr. Trim and Mr. Satul from Orange Walk who taught him the art of making flute from trumpet wood and pobunu boi and apes from cohune. He continued to find art interesting and ventured into cabinet making with Mr. Trim. During this period, he made toy trucks and many mindset games which got the attention of many people.


Mr. Vacaro believes that art is a vision in the back of the mind that is expressed using different types of materials. He believes he was born with the gift of wisdom of creating art. In the early 70’s he was faced with many challenges in the art industry especially due to him not being stable in one community, which caused a career change for a short period of time. He transitioned from small art to larger art when he met up with Mr. Egbert Pinkard and Mr. Selvin Jeronimo. He started making boat propellers, canoes, paddles and matas and sticks (to shell corn and beat rice).


In late 1976 he returned to art (woodcarving as a business) when he met Marcos Enriquez, Archie, Hope and Pook. This time he realized that art was bigger than he imagined. He started producing on a large-scale making afro as well as regular combs. As time progressed Mr. Vacaro continued to develop his artistic skills in producing whatever art his costumer would request. Every new creation was a bit of a challenge since he needed many different types and sizes of tools in order to complete any given task. Over time he moved from simple manual tools to more advanced electrical tools which makes his work faster and less complicated. He now produces art from different types of wood, stone, bottles, shells and other materials.


Mr. Vacaro believes in art you need to have a good memory in order to put your thoughts together to express your skill into practical work. Anthony said “a good memory is better than any document since the document can be lost or misplaced, as an artist you are dependent on the people for support in surviving, so you must be able to create the art they desire. What pushes me most is that I love to live in the minds of people".
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Araceli ‘Lita’ Krohn is Belicena, Latina/Caribena. Her field of studies at university was Literature, Spanish and the Arts. After two years of teaching English in Mexico City, exploring that beautiful country, working in London and visiting Spain and Greece, she returned to Belize, married, and produced two of her best creations: Adam and Aaron. For the next twenty or so years, she taught Belizean History, Latin American literature and became part of a team that introduced Houses of Culture nationwide. She was the director of the newly formed Museum of Belize from 2005 – 2010. Today, Lita continues to paint. It is her passion.


Lita’s paintings have been described as: “small gem-like images of upper class and bourgeois women relaxing in posh environs. They ponder an upbeat, cushy view of life. A life that is leisurely and stress free.” (SHE, Factory Books, 2000)


“With her complex patterning and flashy, playful color sense, the works’ visual effect is primarily decorative and relaxing, like your over-stuffed armchair.” – The Reporter, 1994


In her exhibit: Back-to-Back, Yasser Musa wrote, “Krohn’s images are built with a modern sensibility and perspective. The paintings are reduced and simplified into basic forms and structures. Krohn also bridges an important gap we have within the visual arts in Belize existing between fine arts and crafts, but aggressively Fauvist in its source and skill.” – 2012
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As founder of the Image Factory, co-designer of the Belize Museum, operator of the Belize Center for Art Education and Cultural Understanding, and president of the National Institute of Culture and History, Yasser Musa has long been the leading figure in Belizean art. He is also an artist.


In 1992, Musa and musician Ivan Duran had an art show. They felt at the time that Belizean art and music were uninteresting. Maybe they could do something to provoke change. The show was held at the Bliss Center for the Performing Arts and, for the first time in Belizean history, stereotypical paintings of sunsets and coconut trees were replaced by an installation of live music, dance performances and video projections. The gallery rooms were covered in art, graffiti, trash, misplaced objects and laundry. It was a multi-media show called Minus 8 — the number of years until the millennium. Several thousand people attended. Musa recalls that many thought the work was "insane," that he and Duran were making a mockery of art. But Musa says the show also inspired young artists and asked people to question their outlook on Belize's artistic future. It was said that Belize gained its independence from Britain in 1981 and emancipated itself artistically in 1992.


Musa, who was born in 1970, studied economics at Louisiana State University before acquiring a master's degree in art history. He returned to Belize in 1994 and began teaching art and art history at St. John's High School and Junior College in Belize City. The art history class was the first ever in the country.


In 1995, he founded the Image Factory, the first space in the country dedicated to making, displaying and exalting Belizean art. The Image Factory embodies the philosophy that art has to be community-based to succeed.


In 2001 Musa and Gilvano Swasey designed the first museum in Belize, the Belize Museum, which opened in 2002. Also in 2001, Musa and Michelle Perdomo launched the Belize Center for Art Education and Cultural Understanding, the nation's first major art facility for students.


Today, Musa says his "goal is to fully dedicate myself almost absurdly to being an artist in Belize." Although he has studied painting, he is best known for his conceptual work, often involving traveling installations. The Banana Boy Project, begun in 1999, focused on a figurine of a small boy holding a banana that Musa discovered at a Guatemalan market. He took it everywhere for a year, snapping pictures of banana boy in 620 varying contexts. The pairing of the figurine and the environment often becomes bizarre.


Musa calls himself a "perverse optimist." He wants to continue "presenting culture, making art — move and keep moving."



Text: Maggie Turner | Made In Belize | 2007
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At first Gilvano Swasey was attracted to art class because it was co-ed. Over time, however, his natural talent became clear to all of his teachers, the most important of whom was Michelle Perdomo. She gave him a key to the studio so that he could work on weekends. He was also the head of the environmental club at school and chose to major in biology at St. John’s Junior College in Belize City.


After Swasey completed school, Yasser Musa asked him to participate in the opening exhibit of the Image Factory. The show was called The Young Realists and the gallery space was one of the first in the country. Swasey obliged but was still more passionate about science than art. In late 1995, however, Perdomo pushed Swasey to apply for a scholarship jointly funded by UNICEF and the School of Visual Arts in New York City. Swasey won, outdoing hundreds of artists from developing countries all over the world. But when he got to New York, he felt the sponsor had deserted the project, leaving Swasey alone and questioning the art world at large. He returned to Belize and began working as a field biologist, making nature trails and designing backdrops for tourist visits. After six months, Swasey abandoned this work with a renewed hope of discovering a career in art.


Swasey describes his art as "experimental." He has used all mediums from acrylic to oil to pastel to ink and has explored widely, including painting, printmaking and installation sculpture. He says, "I would like to get to a stage where I am fully comfortable with what I am doing." But the diversity of his talent is a strength. He is open to the world around him and his careful observation is revealed in the breath of his work.


Swasey is famous for his capacity to render realistically. In one project called Urban Nomads, he chose to survey and carefully depict faces from the Belizean street. The series was rich in detail that illuminated the subjects’ innermost characters.


In 2001, Swasey and Musa were commissioned to design and develop the Museum of Belize (MOB), the first in the country. The pair turned an old jailhouse in the center of the city into a lively cultural center which today celebrates Belizean history, education and identity.


Text: Maggie Turner | Made In Belize | 2007
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Aurora, Carmelita, Maria and Sylvia Garcia — four sisters from a small village called San Antonio in the Cayo district — were working on their farm in 1981 when they came upon a sizable piece of slate. They knew it was uncommon, and they became curious about their treasure, feeling it had a deep connection to their home. A year later, a rainy day kept the sisters from working outside. They re-examined the slate and saw the shape of a whale in the stone. They used pencils to draw the whale on the slate and then carved the animal out of the stone with razors, using polish to make it shine.


Their father was less than pleased. "How will you survive?" he asked. "Who will eat stone?" He worried that the sisters had forgotten the importance of farming. But they had not. For the Garcia sisters, carving became a rest from field¬work. With the help of an admirer who brought slate to the sisters, they were able to produce and sell many of their works of art. In 1988, the quartet had saved enough money to travel to Belize City and have a show at the Bliss Center for the Performing Arts. The show was a success and helped the Garcia sisters realize their talent was worth developing further. It became their mission to preserve their culture in slate, carving traditional Mayan scenes as well as the flora and fauna of Belize and the farm that was so important to them.


Maria Garcia says that, when choosing an image for a stone, the sisters are often guided by books and their dreams. Frequently, the images are in the stone already. Garcia adds that each artist becomes intimate with her image, often speaking with it to learn where to start, how to "obtain the key to walk inside." They become so close with their works that they sometimes find them difficult to part with. The Garcia sisters burn an incense called copal while they are working. Maria says it helps open a third eye so the sisters can consider their pieces anew.


Today, the Garcia sisters have an official permit to extract slate from the Mountain Pine Ridge and are proud to be in harmony with the environment. They would never want to hurt the surroundings that are sacred to them. They have shown their work in Belize, Costa Rica, the Dominican Republic, Jamaica, Japan, Mexico and Nicaragua. Maria says that each day the sisters thank the gods for giving them the gift to create and the guidance to do so with such grace.


Text: Maggie Turner | Made In Belize | 2007
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Born in 1973 to an American mother and Mayan father, Santiago Cal grew up in Belmopan and Corozal before moving to Kutztown, Pennsylvania. There, he was able to explore artistic impulses. Cal attended Kutztown University and majored in art. His teachers liked his energy and gave him his own key to the art studio. Later, he received his Master of Fine Arts at Virginia Commonwealth University.


Today, Cal describes himself as an "emotive surrealist." He pays close attention to his dreams and often uses their stories as his subject matter. In a 2001 installation called Ticks, Cal attached oversized wood and plaster ticks to the gallery wall so that they appeared to be sucking the wall into their bellies. The image arose from a dream Cal had about his dog, on his porch in Belmopan. Cal creates sculptures, installations and videos using diverse materials: soccer balls, photographs, wood, balloons, plaster, metal, paint. He often travels to planned exhibits with almost nothing. He works with whatever he finds, but two elements remain consistent in his work: an emphasis on the human body — both representational and metaphorical — and the use of wood. Like many Belizeans, Cal has a passion for handling wood.


At present, Cal is an art teacher at the University of Nebraska, where he teaches drawing and sculpture. He returns to Belize frequently to show his work and be a part of the Belizean arts community. However, he finds that often, in Belize, he is treated as an American. He has fair skin, wears hip glasses and doesn't always speak in the broad Creole that is so common. Cal was interested in the idea of being a foreigner at home and worked to document his experiences in writing and drawings. This work became the basis for a show in Nebraska in March 2005.


Red Umbrellas, installed in Cuba in 2003, aims to take an ordinary object, the umbrella, and manipulate it until the human eye and mind believe it to be something different. Cal was interested in the idea of the umbrella as a source of protection. In Belize, people use umbrellas to protect themselves from rain and more commonly from the sun. Here, however, the umbrella turns into an ominous red cloud that towers above the viewer. The object meant to protect becomes the source of peril.


Cal's first solo exhibition was at the Image Factory in 2001. He has since shown in Costa Rica, Cuba, Guatemala, the Dominican Republic, Mexico, Portugal, Spain, Taiwan, the United States and Venezuela. Cal's goal is to never "feel calm." He likes feeling restless because "there is nothing more terrifying than not being able to make, learn or grow." He was a key participant in two significant internationalization art projects Zero: new Belizean art and Landings which focused on exhibitions the mainly in the sub regions of Central America and the Caribbean.


Text: Maggie Turner | Made In Belize | 2007
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Born in Belize City in 1978, David Anderson began drawing while at Queen's Square School. During free-drawing sessions, he found that his peers began to circle around him as he worked, waiting to see what he would create. In high school, Anderson and his friends would have drawing contests, and Anderson "topped" his buddies time and time again. His friends con-stantly asked for help with diagrams for science projects and other assignments that needed his visual expertise. In the evenings, he could be found at the home of his neighbour, Ryman Diego. Diego taught Anderson how to prepare a canvas and how to improve as a painter. Anderson recalls his very first painting, an image of two gun-toting cowboys walking into the sunset. However, at the time, art was not something he wanted to pursue because "to be an artist was to be at the bottom of the barrel." Peers called Anderson an artist and in turn he felt insulted. After graduating from high school, Anderson neglected all artistic notions and wanted to become a bank clerk. But soon, he realized the office was not for him. He became a tattoo artist and picked up his pencil and paints again to draw portraits of his friends. These same friends insisted that Anderson study art. He decided to attend St. John's Junior College in Belize City where he could work with Michelle Perdomo and her son, Damian, to strengthen his natural talent.


Anderson spent 2004 teaching art at St. John's College and Junior College alongside his former mentors. Today he teaches art at Anglican Cathedral College, also in Belize City. Much like former teacher and mentor Michelle Perdomo, he finds joy in watching his students develop their skills.


Anderson designed the set for artist George Gabb's renowned play Yellowtail, which was performed at the Bliss Center for the Performing Arts in July 2004.


In addition, he showed his work at the Art Now exhibit at the Image Factory in September 2004. Anderson has also done photo essays for NICH CULTURE: a magazine about Belize, including one series that documented cyclists during Krem's New Year's Cycling Classic, an eighty-six-mile race from Corozal to Belize City.


Anderson's biggest challenge is dealing with people who don't realize the power art has to communicate without words. When asked about the future, Anderson replies that he will stay in Belize to watch art develop and unfold so that in the end he will be able to say, "I helped build this."


Text: Maggie Turner | Made In Belize | 2007
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Briheda Haylock is a Belizean artist who made their trailblazing entrance into the visual arts community in 2012, with the art exhibition ‘Society Killed the Teenager’ challenging their society's social oppression, individualism. Haylock developed their voice in the community as bold, provocative, and controversial with a healing psychological twist looking at individualism, gender-based violence, and making a stance for the LGBTQIA+ community.


Since Haylock's debut launched, them has been sought out by their community to curate and create social, educational art shows for NGOs such as Special Envoy for Children and Women and UNIBAM. ‘Milestone’ (2014) helped highlight the prolific women in Belize. ‘My Story’ aided with the Humanization of the LGBTQIA+ community with the show, My Story (2015). Latched: A Community That Supports Breast Feeding (2022) was a collaborative effort with Belize’s advanced lactation consultant Penelope Cassola, to educate the community about the importance of support and the father’s role when it comes to breastfeeding.


Haylock was a part of a small editorial team Baffu E-Magazine (2014-2016) that highlighted the contemporary visual artist, and poets in Belize and documented the culture of Belize. Haylock visual pieces and poetry were featured in the publication. Haylock is also a member and a co-founder of the Belize Women Art Collective (BWAC), an art group geared toward promoting women artists in Belize.


Briheda Haylock is vastly known as a visual artist but started sharing their poetry at a young age. In 2006 their poem Word of 'Anger Which We Speak' was published in a collective entitled Poets R’ Us of teen poets mentored by the Great Grandmaster. In 2015, Haylock became a member of 501 Spoken words. Since joining, the group they have performed with the group and published in the anthology Poetic Narcotics. Haylock Performed at, Doh seh It! (2018) The first international poetry festival performance was In Guatemala, Poesia versus Diferendo, Crea. Puerto Barrios Guatemala (2018) and (2021) 17 Festival Internacional DE Poesía De Quetzaltenango. In 2022 Haylock Represented Belize on Colombian APL Radio, The Real Podcast located in Jamaica, Dominican Republic, and at the Panama Embassy in Belize for the launch of poet Sharon Pringle book release, "The Don't Cry Generation".


Haylock international presence is slowly growing outside of Belize. Their work has been featured in a few articles in the United States, and were published in Bible Belt Queers, in 2019 & 2023. They participated in a global collective collaboration with the team Ghost of A Dream in 2021. Haylock is also on the artist list in Grenada on the platform Caribbean Kind, and in Panama for their contribution to the Central American performance art scene in the project Subasta MAC Panamá. In 2022, they were welcomed to the Miami art collective Diaspora Vibe Cultural Arts Incubator (DVCAI) and In 2023, Mexico acknowledged them for their feminist/activist creative approach in the project Disidenta.
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Carl Hughdonald Gordon was born on 1 November 1957 in Esperanza Village, Cayo. Gordon attended St. Francis Xavier School in Norland Farm, Cayon District. In his primary school years, he inadvertently discovered a passion for drawing by tracing and sketching images from his uncle’s drawing book, a talent admired by his peers.


In his young adulthood, Gordon left Esperanza Village and began working at the Belize Flour Mills Limited in Belize City. It was here he met Austin Lopez, who introduced him to the world of woodwork at an art shop on 196 West Collet Canal. Initially starting with sanding tasks, Gordon's artistic journey took a defining turn in 1976. Left alone in the art shop, he sculpted his facial features on a piece of stump, his first ever 2D sculpture. Recognized for his talent by his family and friends, he began his career in wood sculpting.


Gordon had the privilege of working alongside Hugh Broaster, a disciple of George Gabb. Under Broaster's guidance, he refined his sculpting skills, drawing inspiration from his profound love for nature and the outdoors. Over the years, his masterpieces found homes at major resorts and businesses in Belize. Moreover, Gordon has mentored more than 22 individuals in the art of woodwork throughout Belize.


Gordon's artistic repertoire expanded beyond wood, evident in his stone sculptures, like the one gracing the Welcome Center in San Ignacio Town, Cayo. His works often narrate indigenous worldviews and emphasize the significance of shared ancestry and unity.


Today, Gordon resides in Los Lagos, where his workshop stands. While he values the solitude that fuels his creativity, he envisions a future exhibit displaying his collection and aspires to continue to impart his sculpting knowledge to others. His detailed sculptures are a testament to his profound passion for art and of his faith in humanity's ability to overcome its challenges.
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Cartoonist Charles Chavannes says with confidence that if he were to lose both of his hands, he could learn to use his feet to draw. In 1968, he was the first to sign up for the newly estab-lished art club at St. John's High School in Belize City and he consistently doodled on the edges and backs of his notebooks, often sketching caricatures of his teachers. In the summer of 1975, after completing high school, Chavannes travelled to the Art Institute of Fort Lauderdale where he studied for six months. In 1979, a few years after returning, he was asked to do his first commercial work for the Belizean magazine, Brukdown. Third World Comics often focused on political agendas that were more his editors' than his own. However, they had a definite impact in Belize in that they addressed pertinent political issues.


Chavannes was born in 1955 in Belize City. He once had a weekly cartoon in the newspaper The Reporter called So It Go which had no fixed protagonist. He often includes the prominent personalities of Belize City. When asked what inspires his work, Chavannes wryly replies, "Things that piss me off." Chavannes has lived in Belize City his entire life and says he has a definite "love and hate relationship" with home.


Chavannes's goal as an artist is to make his work good enough to stand up anywhere. Belizeans often say, "Good enough for Belize," but Chavannes isn't satisfied with that standard. He aims to continue growing as an artist, reinventing himself, and making his work solid in every location.


Text: Maggie Turner | Made In Belize | 2007
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Dr. Ludwig Palacio is a Belizean, Veterinarian, Script Writer, Painter, Sculptor, and Appropriate Technologist and Pan Africanist.


He hails from Peini Punta Gorda and is now living in the Capital City, Belmopan along with his family.


He has spent most of the last 30 years primarily in the south, where he has worked in all the rural areas.


Ever a consummate innovator, he has pioneered several appropriate technologies such as wood-burning stoves, solar driers, biogas digesters, and alternative building materials and several iconic monument in PG and Belmopan.


He and his family operate a first-of-its-kind: The We Art Gallery Museum.


Email: ludwigpalacio@yahoo.com
Cell/WhatsApp +501-671-6275
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During the 1960s Cornelius Harrell, also called Cornelius Magnus but best known as Magnus, made his way from his birthplace in Canada to Belize. Magnus had a passion for creativity and success and immediately became an integral part of the local art scene. He travelled between Belize and North America for many years and, after receiving a master's degree in fine arts from Cornell University, decided to return and remain in Belize for six years. From 1978 to 1984, Magnus focused on his artwork and not only created many pieces but stimulated an awareness of and appreciation for art in the young country. Since 1984, he has returned to a rhythm that suits his nomadic style, spending equal durations in Belize and North America.


Magnus was known for his love of recycling. He often used materials from his surroundings, including natural elements, to produce abstract assemblages. Magnus was a painter who used oil paint to depict the female figure. He painted the female form creating a testimony to what he clearly saw as a woman's flawless beauty. He completed a series of sketches portraying women in the summer of 2004.


In 1997, Magnus had his first show in Belize. In December 2005 he and Michael Gordon collaborated on an exhibition called Detritus bringing together two very divergent styles of art.


Text: Maggie Turner | Made In Belize | 2007
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From the beginning, Richard Holder found the world so beautiful he was driven to imitate it. Holder was born in Belize City in 1974 and, as a youth, he would draw late into the night. He often used imagery from his dreams as inspiration; he also ravenously collected comic books and used them to practice rendering, immersing himself in a fantasy world. Holder said that, "my life was magical and super and I could live forever.” Holder was particularly enchanted by Spiderman, who was not only an adolescent, like himself, but, as Peter Parker, had a camera.


As a child Holder moved often, leaving for Trinidad at five years of age and later heading to St. Lucia and Miami. He says traveling made him curious about the world. After completing high school in Belize City, he went to study at the University of North Texas, where he began painting and drawing.


Initially, Holder enjoyed the challenge his instructors presented, but before long, he found himself painting and drawing on his own. He yearned for a less solitary pursuit. He tried photography and was immediately drawn to the social aspect of the art, the way photography forces an artist to step into the world and take part.


After graduating, Holder returned to Belize and felt panicked. He was accustomed to an artistic atmosphere that allowed him to elaborately plan and stage his work. In addition, often the subjects were nude. He was unsure how this would translate in Belize. His first show, at the House of Culture in Belize City, was almost cancelled because the majority of the subjects were of nudes. Holder remained open-minded and began working for the Museum of Belize, documenting everyday life. He veered away from the staged photograph and began to travel throughout the country, candidly "catching the moment." He learned how to move quickly and how to communicate with people on the street, how to "seduce" them into his work.


Holder has taken photographs for the famous Belikin beer calendar, which annually features twelve of Belize's most beautiful women. And recently he has been working to bring elements from a posed world to the streets and elements from the streets to his studio. His series, We, does precisely this, bringing outcasts from Belize's common neighbourhoods into a light-filled studio. The outcome is a thoughtful juxtaposition of contrasting worlds. In another piece, The Last Supper, he gathered twelve Rastafarian men from Belize City. The shoot was a success, but the most difficult aspect was getting the men to look at the Rastafarian portraying Jesus. They were all more interested in the camera. As Holder worked, he recalls, he kept shouting, "Look at Jesus, look at Jesus!"



Text: Maggie Turner | Made In Belize | 2007
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George Gabb was a small boy when he first began to make things. At the time, he was living with his sister and brother-in-law on Lighthouse Reef. He liked being close to the sea and the coral, and he took long walks, drawing inspiration from the beauty around him. Gabb began to make necklaces and small trinkets out of turtle shell, wood, cowhide and horn. Before long, he had advanced to sculpting large birds, sailboats and Creole faces out of Rosewood and Ziricote. Gabb's pieces were selling well, but he yearned to get into "art itself in a visual and spiritual way."


Gabb decided to create a wooden abstraction of "prayer"— not a typical kneeling figure, but his own personal conception of it. Shirley Warden, a retired artist, who had become a mentor to Gabb at the time, begged him not to pursue abstract themes. He felt awful. The woman he most admired disapproved of his masterpiece. In a drunken fit, he hauled it to the sea, planning to drop his work secretly into the Caribbean. When he arrived at the dock, though, he ran into some fisherman friends and couldn't follow through. It was a good thing. Eventually this sculpture helped him win a scholarship to study art in England.


It was this sculpture that also became a spring board for Gabb to develop his own philosophy, which he described as a link between poetry and sculpture. In 2004, he said, "It would be an injustice to think of art in human terms. It is an incalculable expression that is beyond man's mathematical comprehension." Gabb, who died in 2007, was content that he never had much formal art training — he felt he had been able, wholeheartedly, to establish and maintain his originality. His most poignant sculptures often feature a captivating face that emerges out of a large piece of abstract wood. Gabb polished the wood until the faces gleamed; the works are at once apparent and subtly mysterious.


Born in 1928, Gabb taught and worked in Belize, Canada, Jamaica and the United States. He displayed his work at the 1984 World's Fair in New Orleans. Both the Queen of England and the Archbishop of Canterbury own his sculptures. Gabb was also a poet and playwright. His most famous play, Yellowtail, won the highest awards in 1966 at the Cayo Festival of Arts, and was performed in July 2004 at the Bliss Center for the Performing Arts.


As Gabb aged, he became less able to produce. He said his biggest challenge was "staying alive and not working." Gabb said, "When I work, I am alive. Oh, how I wish I could work into the night."


Text: Maggie Turner | Made In Belize | 2007
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Ilona Smiling, born on February 2nd, 1988, in Belize City, is a versatile Belizean artist specializing in abstract art and curation. With a degree in Criminology from the University of South Florida and an MFA in Art Management from Taipei National University of the Arts, Ilona seamlessly combines her academic background with a rich artistic vision. Despite their bright and colorful appearance, Ilona's artworks are celebrated for their emotional depth, providing insight into the intricate layers of her inner world.
In her artistic journey, Ilona focuses on self-expression, infusing her creations with the raw essence of her personal emotions and experiences. Each artwork is an articulation of her nuanced feelings, which invites viewers into an intimate dialogue with the artist's inner world. Ilona's experimentation with shapes goes beyond aesthetics, as art becomes a language of its own, conveying not just visual appeal but a profound exploration of her own psyche and its myriad expressions.
Examples of Ilona's work include "Confusion," a poignant exploration of the overwhelming burden of burnout in society, particularly the strains of adulthood. This artwork captures the complex emotions associated with societal expectations, offering a powerful commentary on the pressures of navigating a modern life. In addition, her other artworks delve into her relationship with her depression, and anxiety offering a raw and authentic portrayal of this complex emotional landscape through her lens. Through her art, Ilona confronts and articulates in her own word the nuanced facets of mental health, inviting viewers to connect with this universal human experience.
"In the Bloom" is an abstract piece that juxtaposes an abstract female body next to an abstract flower, showcasing the way in which blooming flowers in nature are generally well-perceived, while women blooming just as naturally were not. This artwork confronts societal norms and perceptions of the female form, presenting a powerful commentary on the contrast between the celebration of nature and the often-overlooked beauty of the female body. In its first public display, many viewers were more attracted to the flower than the body, prompting the artist to create her most notably provocative work "An Inappropriate Woman."
This nude photograph serves as a powerful exploration of the complex relationship between her body and society. In "An Inappropriate Woman," Ilona confronts societal norms and challenges the prevalent narratives surrounding the human form. The piece delves into the dichotomy of acceptance and rejection, shedding light on how the human body, particularly the female form, is often marginalized rather than celebrated. The photograph is a statement of her own self-empowerment and defiance, challenging conventional expectations and inviting a reconsideration of societal notions of appropriateness.
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Katie is an artist who has consistently explored and experimented with creative and conceptual actions for over 15 years. One of her earliest public presentations of her art came in the 2009 show Women In Art. In 2011, we collaborated on an e-book and art project el Fleco which explored the artist’s life as the work.


From 2014 to 2016, she was part of the editorial team for the culture magazine BAFFU, an electronic publication which offered a scan of the Belizean contemporary visual art and literature. She contributed poetry, art commentary, and visual art to thirteen issues.


From 2014 – 2017 she single handedly hosted over 100 artists, writers, poets, dancers, and musicians inside the Factri in a creative incubator she called LAB.


I remember Katie sitting in front of this very wall after she wrote in chalk the names of Belizeans who lost their lives to senseless gun violence. She also honored the slain Amandala journalist Kareem Clarke with a wall full of his journalistic writings.


In 2017, Katie exhibited at the international residency called Migration in the UK. In 2018, she wrote “I work within the community to create work for the community.” That year she won the Bridget Jones Travel Award.


In 2021 Katie collaborated with veteran artist Mercy Sabal in an exhibit titled Mothers of Creation and that same year co-created a 4x8-foot quilt that is displayed inside the national assembly commemorating 40 years of Belize’s Independence.


In a 2022 Gasworks artist in residence publication, they wrote: “Katie Numi Usher works across performance, sculpture, painting and embroidery to explore blackness and interrogate black female erasure within both the colonial history of Belize and the present day. Usher regularly uses online social media platforms as virtual galleries, challenging the gatekeeping of traditional museum and gallery spaces and providing a space and a platform for other Belizean creatives to connect with both their community and the wider black diaspora.”


Also in 2022, she collaborated with artist Carole Wright on Black Women Creating Audio Resistance.


Text by Yasser Musa/August 2023
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Kirkland Smith is a highly experienced and versatile artist with a strong commitment to art education and community engagement. His extensive practice spanning over 25 years suggests a wealth of artistic knowledge and skill in various media, including acrylic on canvas, pencil, and mixed media techniques.


As an art educator, Kirkland Smith plays a crucial role in nurturing the talents of young individuals across different age groups. His dedication to developing the skills and creativity of aspiring artists in Belize is commendable, contributing significantly to the cultural and artistic landscape of the nation.


Moreover, Smith's collaborative efforts with fellow artists and art institutions demonstrate his commitment to fostering a supportive and thriving artistic community. By organizing and hosting exhibitions for the public, he not only showcases his own work but also provides a platform for other artists to display their creations. This collaborative spirit helps promote artistic expression, dialogue, and appreciation within the community.


Kirkland Smith's role as a champion for art education and community involvement highlights the broader impact that art can have on society, beyond individual creative expression. He is making meaningful contributions to the cultural development of Belize and inspiring the next generation of artists.


Text source: imagiNATION Factri
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Lola Delgado had an understanding mother. When she discovered young Lola using her makeup to paint the walls of their house, instead of punishing her, she decided to buy her real art supplies. Soon, Delgado was using art as a means of communication. Her detailed drawings helped her mother decipher which of Delgado's siblings was at fault when a family fight arose. When she was just eight years old, her father sold her first work of art, a painting of a bird.


Born in Belize City in 1959, Delgado attended St Catherine's School and graduated, only to realize she would need a better-paying job than painting to support herself. She became a freelance writer for the newspapers of Belize City, also doing some photography. She eventually moved to Seine Bight, a small town north of Placencia where she worked from her home for newspapers in Belmopan, often designing attractive advertisements.


In time, she left the newspaper business and began working on the farm of friends Sarah and Jim Ferguson. When Sarah Ferguson's birthday arrived, Delgado made her a special card. Immediately Ferguson asked where Delgado had bought the card. When she explained that she had made it, Ferguson insisted that Delgado sell the cards. The next day, Ferguson took twelve to town, sold them all and received an order for five dozen more. It was at that point that Delgado decided to prove herself as a painter.


Today, Delgado paints in acrylic, although she used oil to produce her first fifteen years of work. She is happier with acrylic, however, because it dries faster and is better for the environment. Delgado draws considerable inspiration from where she lives. She is surrounded by the sea and the lagoon, flowers and herons, foxes and raccoons and all of this wildlife helps to keep her brush moving.


Delgado's subject matter varies. But often, she will paint a group of women standing by the seashore. There are usually three or five and they are always colourfully dressed, decorated in jewels and wearing elaborate hairstyles.


Delgado has always been inspired by the life and work of Frida Kahlo. She painted one work in honour of Kahlo and it was discovered by a tourist who took it to a gallery in SoHo, New York City. Delgado runs a small bar attached to her studio called Lolas Art and in 2001 she wrote and illustrated a children's book called Belizean Kat Tailz. She has shown her work in Belize City.


Text: Maggie Turner | Made In Belize | 2007
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Manuel Gonzalez, known as Manolo, grew up in Havana, Cuba. Born in 1966, he took art as a young child at school and eventually attended the Institute Superior de Arte in Havana. Gonzalez's focus was always painting, but he also studied art history, ceramics, sculpture, lithography and design.


In 1993, Gonzalez travelled to Belize to illustrate children's books for the publishing house Cubola Productions. He stayed for four months and enjoyed himself. In 1996, he returned to work again for Cubola Productions, this time drawing geographical maps of Belize. Finally, in 1997, he moved permanently to Belize and has been living and working between the easternmost Dangriga and westernmost Benque Viejo for ten years.


Today, Gonzalez paints in acrylic, oil, ink and crayon. His show at the House of Culture in Benque, in August 2004, included four types of work: detailed Belizean landscapes from famous sites such as the Cockscomb Basin; abstract geometrical pieces; paintings that explored his ideas about senses, dreams and fantasies; and portraits of local characters. Gonzalez has accepted that strangers don't always appreciate having their picture taken so he doesn't rely on photographs When he sees a face and is certain he wants to paint it, he memorizes it and runs home to get it down on paper. He captures many familiar faces from Dangriga: Rastafarians, drummers, dancers and people on the street. Gonzalez says that, as a painter, he is influenced by his surroundings, and when he moved from Cuba to Belize, he became more interested in painting the abundance of faces and personalities he saw.


Gonzalez is also interested in digital imagery, space planning and product development, all of which he works on with friend Norman Smith in their design company, Imaginative Works.


Gonzalez has shown his work in Belize, Cuba, France, Germany, Italy, Russia, Spain and Yugoslavia. His paintings are fundamentally hopeful. He says of his work, "While living in a world with violence and wars and ambitions, maybe I can try to build another world with peace and colour and light."


Text: Maggie Turner | Made In Belize | 2007
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Michelle Perdomo was born in America, in Bishop, Colorado, in 1948 and moved to Belize in December 1969 after marrying her Belizean husband. They met the first day of classes at Loretto Heights, a private Catholic college in Denver, Colorado, now called Teikyo Loretto Heights University. They married the day after graduation. Perdomo became a teacher for St. John's College in Belize City, and is now the director of the school’s art centre, the Belize Center for Art Education and Cultural Understanding.


When Perdomo began teaching thirty-eight years ago, there was no art department of any kind at St. John's College. Perdomo took it upon herself to establish one. At that time, students could choose between study hall and art. If they chose art, the class was held in a closet-sized room with one window. With Perdomo's leadership, the art facilities began to improve. A new classroom was created in the gym. The space wasn't perfect — there were bats, crabs and mosquitoes, as well as water when it rained, but the room was packed with enthusiastic students who had never been given this creative option. Today, students are offered art classes during the three uppermost levels of high school and they can major in art at the junior college, a choice that more and more students are making.


In May 2001, after thirty-two years of teaching and perseverance, Perdomo saw another of her dreams come to life with the opening of the Belize Center for Art Education and Cultural Understanding. This national institute is dedicated to the visual arts and is located at St. John's College. At last, Perdomo had an entire building to foster artistic learning and development in Belize.


Perdomo described her central focus as the art of teaching. She did many paintings and drawings, but felt her role in Belize was to encourage the arts. Perdomo's son is the talented Damian Perdomo and she taught many of Belize's most important artists, including Yasser Musa and Gilvano Swasey.


In addition, Perdomo ran an art program for young convicts. She taught them wood carving, sculpture and other hands-on skills once a week. She also travelled to the six districts of Belize and helping teachers discover ways to use art in the classroom. She taught night classes and summer sessions for adults as well.


Text: Maggie Turner | Made In Belize | 2007
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Nelson Young's first medium was wood. While in school, he helped his grandfather, Peter Young, build boats for local fishermen. He also studied religion, history and geography, and he began making art.


In his late teens, Nelson, who was born in 1959, moved to New York City and became the foreman and production designer for the company impressions in Wood, which made and sold wooden furniture. During his years in New York, he visited galleries and museums all over the city. He recalls being "inspired by the creative energy of the whole world." He paid particular attention to artists working with paint, a medium he had never tried.


In the early eighties, Young returned to Belize and settled in Caye Caulker, where he taught himself how to paint in oil on canvas. Today, many of his works reveal a Cubist style. Young often divides his canvases with lines and strokes that fragment the subject and distort the viewer's sense of space. Young paints landscapes, fish and, most often, faces. He feels that faces lead to other mysteries in life. Young states, "in looking at a face, you can meet angels and get to know one another through the heart."


Young is a spiritual artist. At one point, he was influenced by the Rastafarian culture, "seeking truth." Later, he channelled his energy into the New Testament. He believes that "all you need is a good heart and clean hands and you shall see the creator."


Young believes that Belizean art is beginning to flourish, but the poverty he has witnessed in Belize takes precedence. Although he is keenly invested in art, he prefers to help people directly; he wants to "make the building of a house more important than the construction of a museum." While he speaks, an adolescent girl enters his house and receives a helping of food.


Young has shown his work in Belize, Norway, Sweden and Taiwan. Young says of his place in the history of art, "If you are a farmer, you plant seeds and hope they will grow. If you are a painter, you paint and destiny will do the rest."


Text: Maggie Turner | Made In Belize | 2007
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Originally from Belize, I was born to a Scottish father and a Belizean mother. My name is Jeannie Shaw. Growing up in the Caribbean gave my life lots of colour and diversity, all of which brought me to who I am today.


Life is filled with highs and lows. Dad once wrote a poem to me about honouring the peaks and valleys of it all. Some of my valleys called me to seek, embrace and immerse myself in light. I yearned to be around people, places, things and events that make me feel alive.


One night, as I was finishing errands, I had a clear vision of myself writing and the words Nourish Me Sweetly followed. That’s all I wanted, to be sweetly nourished – and here we are.


Nourish Me Sweetly is a platform to share experiences through blog posts, poetry and videos in hopes that they will touch hearts and raise vibrations. These will all culminate into a book one day and I’d so love for you to be a part of this journey with me.


As much as I love to share what I learn, I don’t always practice what I preach. So, trust me, it takes a lot of courage to share when you know you’re still a work in progress on just about everything you share.


Text source: https://www.nourishmesweetly.com/about


www.jeannieshaw.com
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Pen Cayetano's first passion in life was music. He was inspired by his father, a musician, and in the early Eighties, he formed, and was the lead singer and guitarist of, the Turtle Shell Band. The band became most famous for popularizing Punta Rock, a type of Belizean dance music that combines traditional Garifuna rhythms with aspects of modern rock. Cayetano recalls that Punta Rock became widespread on the eve of Belize's Independence in 1981.


Cayetano's interest in art also started early. Born in Dangriga in 1954, he began to draw when he was seven and paint when he was fourteen. Today, he is a self-taught painter who works primarily in oil on canvas.


Initially, Cayetano was impressed and influenced by the artwork of Salvador Dali. Soon, however, he began to use Belizean traditions and Garifuna history as his subject matter. He then studied with another Dangriga-based oil painter, Benjamin Nicholas. Cayetano's paintings present scenes of everyday life: fishing, the market, cooking, traditional holidays and events.


In November 2003, he had a show at the Mexican Cultural Institute that exemplified his style. Forty-eight paintings depicted young Garifuna women in bright dresses, the ceremony of Wanaragua (in which people dance, sing and worship wearing coloured masks) and Belizean history. One painting showed loggers moving mahogany through old Belize City. Other paintings explored Cayetano's response to the present world situation. A painting called Stop Violence Now aggressively addresses the abundance of recent violence, including the bombing of the twin towers in New York City and the burning by arson of a building in Belize. The painting was intended to upset viewers, and make them passionate about change.


Cayetano has shown his work in Austria, Belize, China, England, Germany, Switzerland and the United States.


Text: Maggie Turner | Made In Belize | 2007
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Rachael Heusner says, "Whenever you get stuck, pick up a book, learn something new, apply it and move on." Heusner was born in Belize City in 1969. She always liked to draw but it was when she turned sixteen and received her first painting set that she really began to explore. Heusner took classes with Michelle Perdomo at St. John's Junior College in Belize City. She moved on to study art briefly at Santa Monica College in California before returning home to Belize to train teachers in art education.


Heusner also continued painting on her own and decided to open Rachael's Art Gallery on Albert Street. Her objective was to promote young Belizean artists. The gallery was well received by Belizeans and foreigners and helped many artists gain recognition.


In 1996 Heusner was invited to Carifesta in Trinidad, an art fair that takes place every five years and features artists from around the Caribbean. There, Heusner met her husband, a local painter. A year later, they married and moved to Tobago where they now own and operate The Tobago Art Gallery, representing fifteen artists from Trinidad and Tobago. Although Heusner has been in Tobago for the past ten years, she makes annual trips to Belize to see family and show her art at home. She mentions that in Tobago they keep insisting that she get a native passport and she says, "No. I am a Belizean. It is the good life."


Heusner's principal medium is watercolor, although she has recently begun to work with oil paint. When she needs a break from everything, she does collage. She describes her subject matter as "Caribbean stories," and says she wants to represent culture that is uniquely Caribbean but that illustrates and honors what all Caribbean islands and countries share in common. Heusner frequently uses photography to capture possible subjects, sometimes leaping out of her car and stopping traffic to capture an image.


Heusner has shown her work in Belize, Barbados, Honduras, Mexico, Tobago, Trinidad and recently New York City. In the future, she would like to pursue more historical, even nostalgic, paintings of Belize.


Text: Maggie Turner | Made In Belize | 2007
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Shalton Arana's journey into the vibrant world of painting commenced at the tender age of 19, sparked by the encouragement of a seasoned man named Kim Kinberlyn. Inspired and driven by his newfound passion, he swiftly delved into the realm of Garifuna paintings, a creative endeavour that would shape his artistic path for years to come.


In July 2001, Shalton proudly showcased his early works alongside Raymond Gomez at the El Café in Belize City, marking the inception of a prolific career. Over the subsequent two decades, his artistic odyssey led him to numerous exhibitions, both solo and collaborative, where his original pieces captivated audiences far and wide. From bustling city galleries to intimate community spaces, Shalton's creations found resonance among art enthusiasts and collectors alike.


Initially armed with a palette of watercolours interwoven with the precision of sharpie markers, Shalton's artistic repertoire evolved with time, fuelled by the unwavering support of mentors like Marcelino Miranda from the Mexican Institute and Emelda Usher from the National Handicraft Center. Their encouragement bolstered Shalton's resolve as he navigated the intricate landscape of artistic expression, fostering a spirit of collaboration and camaraderie within Belize's vibrant art community.


A defining feature of Shalton's work was his deliberate omission of eyes from his subjects, a symbolic gesture reflecting his belief in respecting privacy and eschewing voyeurism. Through his distinct visual language, he conveyed narratives of community, familial bonds, and the timeless essence of Garifuna culture, imbuing his creations with a sense of hope and unity that resonated deeply with viewers.


As noted by art curator Gilvano Swasey in 2012, Shalton's oeuvre transcended mere representation, embodying a fusion of folk aesthetics and illustrative storytelling. His figures, devoid of explicit identity yet brimming with emotion, served as vessels for collective experience, inviting viewers to immerse themselves in the tapestry of Garifuna heritage that he so passionately depicted.


In his own words, Shalton described his art as a celebration of colour and a testament to the unifying power of creativity, transcending boundaries of race and ethnicity. Each brushstroke, imbued with the essence of his cultural heritage, served as a beacon of inclusivity and harmony in an increasingly fragmented world.


Amongst those drawn to Shalton's work were children, enchanted by its simplicity and vivacity, finding solace and inspiration amidst the turmoil of the world. Even amidst the challenges posed by the Covid-19 pandemic, Shalton's dedication to his craft remained unwavering, his canvases becoming a sanctuary of creativity and resilience in uncertain times.


Tragically, Shalton's journey came to an untimely end on the 4th of October, 2023, leaving behind a legacy that transcended the confines of time and space. Born on the 27th of February, 1973, his life was a testament to the transformative power of art, a testament to the enduring legacy of creativity, and a reminder of the profound impact one individual can have on the world around them.
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This writer once observed that "sails billowing in the wind, sun and storm-drenched sea and sky; the Belize River bustling with activity; chocolate-brown Afro Belizean men and women moving to dance; honey-brown Mayan Belizean women cooking, sitting, standing; Belizean swamps and forests; Belizean villages and cayes; hurricane ravaged Belize" have all been subjects depicted by Densle Wilbert Belisle "Louis Belisle" in oil on canvas. "If they could all be collected into one room an appropriate title would be 'In Celebration of Belize." Together with his still life of temperate fruits, portraits, abstracts, pen and ink cards immortalizing the Christmas Bram, and so on, they would represent some seventy-five years of development as an artist.


Belisle was born in Belize City on October 1, 1911. He was raised by his grandmother. It was during this time that he was nicknamed "Louis" after a favorite uncle. He later decided to write his surname B-elisle putting the stress on the first syllable.


He began to paint from age five in Punta Gorda. "Dories and such" were his themes. "To get colours "he used to dip chalk in red and blue inks." Another favorite theme was horses. Horse racing was a very popular sport in his youth. He used to draw the winning horse on the black board at Holy Redeemer School where he was a student. The urge to paint was a have "an outlet for (his) frustration." He had begun experiencing much loneliness. Life was not easy for B-elisle. Because he had to learn to fend for himself at a very early age, his sense of independence developed very early too.


In the 1930s he Came under the influence of a merchant named McClean, owner of the popular Harley's Store. McClean had studied art in Germany and began giving art classes around Belize City. He introduced Belisle to oils.


B-elisle never stopped painting even during his sojourn in Panama where many young Belizean men went looking for work to improve their financial conditions. In 1958 he sold one of his major works entitled "Island" to Vernon Leslie, Resident Tutor of the UWI Extra Mural Department as a gift for the Mayor of Santa Elena, Cayo.


Finally in 1965 his break came and he considered that as the year that he began painting professionally. The first ever art exhibition was held in Belize City. There were three categories. Participants were expected to paint a known part of the colony, one of the natural species and a recognized personality. Belisle dominated all three categories with his depictions of the Swing Bridge, the fish known locally as "Old Wife," and his self-portrait. The result was a British Council scholarship to study for four months at Hornsey College in London, England. His performance was so spectacular that he was awarded a second scholarship to do sculpture. Commenting on that time in England to one interviewer he said, "You cannot teach a man how to paint. You can encourage him and he will make his own development by himself. What happens in school is that a person learns how to use materials so he is better equipped."


Belisle's contribution to the development of painting and drawing in Belize was Multiple. At varying times, from his return from England until his death, he taught art for the Extra Mural Department, at his own studio which he opened in 1975 at the corner of Douglas Jones and Castle Streets, and around the country. Adults and children studied with him. Goshen College, located in the US, used to place some of their students with him. Philip Lewis was one of his students and they remained good friends. His classes were lively, practical, down-to earth. He knew how to improvise in the absence of materials.


There is no question that Belisle was a prolific painter filling hundreds of canvases with his images and visions. He produced a series of twelve pen-and-ink cards depicting the Belizean Christmas Bram and sold copies of them. From about 1967 he mounted annual exhibitions. In 1983 he attended and exhibited at the Fulton Arts Fair in Brooklyn, New York.


Looking at Belisle's work one sees hints of Paul Gauguin in his Mayan women, of Claude Monet in his reflections on water, of Rene Magritte in his compositions combining trees, buildings and reflections, of Jean Baptiste Chardin in his stillifes’, and so on. Not exercising power over people, Belisle recognized something that the political nationalists could not afford to see or admit. Independence does not mean heading off into a cultural cul-de-sac. He grasped that it was on the backs of indigenous peoples and African slaves that Europe built its wealth which allowed art to thrive. He recognized African, Oriental and other influences in the great European masters. His daughter Leonie, remembers him saying, "I'll be better than Gauguin". In the eyes of his young heir, Yasser Musa, it is "his courage to appropriate all art without any insecurity" as all the great artists have done that is his greatest achievement. As this author has said before, "By so doing he placed Belize squarely in the tradition of Western art and by extension world art".


Art historian Marcel Brion has observed that "Generally speaking, the greater an artist, the more fruitful his capacity for renewal." Belisle was constantly self-renewing. He did not allow himself to be bound by any particular genre or style. His daughter says that when he first went to England he was upset of having to paint nude models. Within a short time that reticence left him. In Belize he used his wife as a model. She used to get up at two and three in the morning to pose for him so that he could capture drawing the line of her back. With eight children, posing in the day was problematic. While most of his work was realistic, he ventured occasionally into abstract painting. He experimented with using other equipment, for example a knife instead of a brush. He was not afraid to go and study at fifty-four. At seventy-four he went looking for new markets in the US.


Belisle considered a place to study techniques, materials, etc, and a place to exhibit one's work essential to the development of existing artists and the formation of future ones. This preoccupation led him to join forces with other artists and the UWI Extra Mural Department in 1980 to petition the Belize Government to establish an art complex where the mental asylum had been located at the Barracks. During the filming of "Dogs of War" explosives had been used on the historic buildings and they were demolished.
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When Terryl Godoy was fifteen, his brother challenged him to a drawing contest. Godoy drew a portrait of a dog that had grabbed his attention. Terryl's father was so impressed that he asked an older son, then living in America, to send art supplies, which were hard to come by in Belize. After they arrived, Godoy began to visit with Percival Cain, a painter who lived down the street, and who taught him basic skills. Godoy, one of thirteen children, over time began to disagree with his brothers, so he left home.


After moving into a room at his grandfather's house in another part of Belize City, Godoy began taking his paints to the street. He created realistic versions of the architectural and social vitality of Belizean streets: the houses, buildings, people, cars, telephone wires, laundry lines and blue skies that are characteristic of the country. Godoy sold his paintings from his house for about thirty-five dollars apiece. One afternoon, an admirer offered him the chance to have a show. Two years later, when he was just nineteen, Godoy had his first show at the Bliss Center for the Performing Arts. Every painting sold.


A few years later, Godoy decided he wanted to see more of the world. With thirty paintings in tow, he set out for Cancun, Mexico City and London. Godoy fell in love with London and wanted to continue on to Spain and Germany, but his funds were running out. Referred to a couple in Kent, Godoy swiftly painted a portrait of their house in return for lodging and a ticket to Spain. For three months Godoy travelled and sold his work in Spain, Germany, Belgium and the Netherlands. In 2002, he travelled to Trinidad, St. Lucia, St. Vincent and Barbados where he painted large public murals and taught painting.


Today, Godoy paints street scenes similar to those he completed when he was just seventeen. Now, however, he wants to capture and preserve in paint the older buildings in Belize before they are blown away by a hurricane, destroyed by fire, or redone in the sturdier cement style that is becoming more popular today.


Godoy signs his paintings "Man at Work," because when he began painting, the overpowering heat on the street made him feel like a municipal construction worker. Most days, cool weather or hot, you can still find him working on South Street.
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Michael Gordon's initial works, done with pencil on cardboard, were depictions of the diverse surroundings he experienced while living at two impoverished addresses as a child. Born in 1962, Gordon taught himself to draw at an early age, sold his work on the street and quickly became well known on the south side of Belize City. Today, he continues to be inspired by the faces and events he encounters on the street.


Gordon works with acrylic, oil and pastel. When he uses acrylic, he often adds water to make a consistency that meets his needs. Gordon has studied printmaking and is a talented wood carver, often creating large totem heads, boats, birds and snakes in mahogany.


One of Gordon's greatest attributes is his rate of production. He is working in all mediums at all times. He can be found at the Image Factory with a painting in progress and two new sculptures in hand. In 1998 and 1999, he worked on a project involving 227 miniature portraits. They depicted faces that Gordon had seen in the neighbourhood or had found in books. A group from that larger collection has recently been shown at the Bliss Center for the Performing Arts in Belize City.


Gordon says that art is his trade, but more important it is his nature to contribute. His ambition is to serve as a pillar of the Belizean arts community and continue in his philanthropy. He has shown his work in Belize, Cuba, the Dominican Republic, Mexico, Spain, St. Kitts, Taiwan and the United States.


In December 2005, a show called Detritus revealed his and Cornelius Magnus's talent for working with recycled materials.


Gordon admits that only half of his pieces meet his satisfaction. He explains that "art takes time" and overall, artists have to be devoted to fulfilling their goals. When asked what drives him to produce, Gordon replies, "Beauty."


Text: Maggie Turner | Made In Belize | 2007




BELIZEAN LEGENDS SHINING STARS! BELIZEAN ARTIST EXTRAORDINAIRE MICHAEL GORDON!


By Bilal Morris
Facebook post, 2019


I am a legend that you never ever heard about...I'm a hero that nobody celebrates. - Chronix


Michael Gordon, this outstanding Belizean artist extraordinaire, whom yours truly was so blessed to have known from childhood, has transcended race and politics in Belize to become one of Belize's most talented artists to date.


His amazing development as a Belizean artist appeared to have developed rather haphazardly being discovered rather by accident by another one of Belize's most astute and talented artist himself, Yasser Musa. Since it appears that only an artist can see an artist undiscovered as the visionary in Musa detected in Gordon who appeared to have been thrown out of the mainstream Belizean artistic society through ignorance. Gordon struggled socially against poverty and rejection on the streets of Belize City in the 1970s sketching memories of his oppression on thrown-away pieces of cardboard that became his canvas. What came out, however, from the brilliant mind of this son of Belizean soil was masterpieces of art that maybe only Musa could immediately recognize as talent.


Michael Gordon and his late brother, Osborne Gordon, came from a very poor but humble Belizean family on the Southside of Belize City during the 1970s. His mother who sadly passed away when Mike was just a boy may have had a serious impact on him during his troubling years as an unrecognized Belizean artist who use to sit on the sidewalk of the streets of Belize City and draw these masterpieces just from his brilliant artistic mind.


A Belizean as myself would stop by him in the late 1970s and watch him sketch quietly these well-acquainted Belizean landscapes, faces, and geography of a quiet and peaceful city. We would chat, and he remembered me well who use to visit their home with his older brother Osborne who was a classmate of mine. Osborne was sadly murdered some years ago, and 'Burn' as we use to call him, was brilliant in Math as an elementary school kid, and had helped me with my math homework many times. Someone like him was robbed of his future by a system that cast away talent that finally ended up lost in the social injustice of Belizean society.


But Michael was a natural artistic talent, who in the memory of his dear mother whom had also died very young, and was a close friend of my mother, would later on become this Belizean artistic figure in Belize today, thanks to the visionary work of Yasser Musa in giving him that chance like a lot didn't get in Belize to shine.


It is most appreciative to have gotten permission to use the portrait here for my expose done by another brilliant Belizean artist, Gilvano Swasey, who did this incredible masterpiece of a portrait of Michael Gordon. This was touching for me to see.


From the deepest qualities of our hearts here at Belizean Legends we say, As Salam Alaikum, peace be unto you both Michael Gordon and Yasser Musa.
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