Home' Trinidad and Tobago Guardian : August 26th 2013 Contents A37
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Camille Harding is a self-taught
Trinidadian multimedia artist. A
graduate of the London College of
Fashion, she has worked as an art
teacher, pattern cutter and designer.
Her work has been featured in
exhibits both regionally and inter-
nationally. In 1992, Harding was
awarded a Commonwealth Arts and
Crafts fellowship that took her to
New Zealand. She has also worked
with Meiling, Peter Minshall and
The Cloth Caribbean.
Every Saturday, Harding opens up
her home studio in Belmont to cus-
tomers and art enthusiasts. Visitors
can view works in progress, speak
with Harding and, of course, shop.
Harding has previously designed
clothes for Mille Wearable Art but
now focuses on jewelry, which she
says are "pieces falling out of my
paintings." She spoke to Zahra Gor-
don about these new developments
and the meaning of her work.
You ve been practising as an
artist for more than 30 years and
have now decided to return to
school. Why is that?
There s a lot of theory that goes
behind my work. In fact, behind the
work of any artist. It s not just like
you feel great and paint. There is
I m completing a visual arts bach-
elor s degree at UWI this year. I did
it because I wanted to move ahead.
I d been practising for 30 years before
UWI but I wanted to put my theory
in order and UWI helped with that.
I also did it out of respect for my
profession. I don t think it will inter-
fere with my style but puts the style
in a format. I want to pass on my
knowledge and I want to teach at
the university level and you can t do
that without having the qualifica-
I also want to document my work.
Its significant to us in the Caribbean
that we need to start documenting
our work. We need to do that on a
university scale. Our research and
intellectual property needs to be put
together by us and not foreigners.
That s a serious problem we have of
letting other people define our work.
So what are some of theoret-
ical foundations of your work?
I deal with Caribbean life,
Caribbean social life, with Carnival.
And with Carnival you have to get
into our history and look at who
plays what mas and why. And I link
these to the feeling of my work.
I deal with slavery and our free-
dom. I toy a lot with the idea of
weapons because they are what we
use to demand power. Weapons
could be language, repression, sup-
In my art I m always looking for
resolution. I m always searching.
I look a lot at women and their
place in the world and I compare
how free we are here (in Trinidad)
and the ways in which we re not free
as well. There are so many women
who are silenced.
Art to me is a document and each
piece reflects the time and the tech-
nology. I paint what I see and that
is something that I use a guide for
my work as well. If I don t see it, I
don t paint it. So even when a piece
is abstract, it is something that I
As a multimedia artist, you
practise with a variety of materials
Steve Ballmer shocked the tech world
on Friday when he announced his plans
to retire as CEO of Microsoft within
the next 12 months.
Ballmer may not have been the most
well-liked CEO---far from it. His approval
rating on employee review site Glassdoor
is just 47 per cent and he has been
panned many times by analysts and
reporters since taking over for Microsoft
co-founder Bill Gates in 2000, with sites
like CNBC and Forbes ranking him
among the worst CEOs of last year.
The surprising factor, however, is the
timing. News of his departure comes
barely one month after Ballmer intro-
duced a massive restructuring at
Microsoft to focus the company around
devices and services.
Ballmer had initially planned to leave
in the middle of this restructuring and
shift in focus, but apparently decided
the company needed someone who
would see it through. (mashable.com)
Why Steve Ballmer decided to retire now
The theory behind Camille Harding's open home studio...
Mille Wearable Art
Continues on Page A38
Camille Harding and one of her larger pieces of work at her home studio in Belmont. PHOTO: NICOLE DRAYTON
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