Home' Trinidad and Tobago Guardian : May 1st 2014 Contents B1
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The cost of watching a newly released
film will depend upon the size of the
screen on which it is viewed in future,
the head of Dreamworks Animation says.
Those who watched on a "movie
screen" would pay the most while those
using smartphones would only pay a
small fee, Jeffrey Katzenberg said.
This pricing model will be common
in 10 years time, he told a US confer-
But one commentator suggested it
would be tricky to accurately identify
the precise size of the devices used.
Katzenberg was speaking at the
Milken Global Conference in California.
This bills itself as a forum for people to
find solutions to challenges in business,
as well as other areas.
"A movie will come out and you will
have 17 days---that s exactly three week-
ends, which is 95 per cent of the revenue
for 98 per cent of movies.
"On the 18th day, these movies will
be available everywhere ubiquitously
and you will pay for the size," he said.
The pricing model he suggested was
US$15 per film for a movie-sized screen,
US$4 for a 75-inch TV and US$1.99 for
a smartphone. (BBC)
Pay-by-size for films in future
...art is 'only validated when it resonates'
"... firesticks ... knife ... stone
carvings ... they are what a
woman needs to 'carve a life for
herself'"---Clarissa Pinkola Estes,
Women Who Run with Wolves
With fire, carving
knives, big and small,
and with the objects
available on a small island in the
beetle wings and a diversity of
stones---Barbara Jardine has been
carving out a life.
The hand-crafted jewelry, vases,
precious objects she makes, tell the
story of a woman artist who has to
find the missing pieces of herself,
pieces misplaced when her creative
self is overshadowed by, among
other things, her other roles of wife
and mother; how it can be a
painstaking task to perform the
alchemy that will make her whole
again and what is possible when
she commits to the task of rebuild-
"My work speaks for me," says
Jardine, "but it isn t self-conscious."
Telling Jardine s story in words
has partly been the work of others,
who have broken into the artist s
solitude and have been astute
enough to ask the right questions.
In 2006, Judy Raymond (currently
T&T Guardian editor-in-chief)
wrote the book Barbara Jardine:
Goldsmith, which attempted to
make conscious the psychic process-
es that underlie Jardine s work. It
also showcased Jardine s extraordi-
nary craft in the full-colour pho-
tography of Michele Jorsling.
In 2010, Mariel Brown filmed The
Solitary Alchemist, a documentary
about Jardine which also captures
her in process---grieving the past,
creating the work that will heal her,
timidly sharing that work and herself
with the world.
Both the book and the film, which
Jardine credits with helping realise
how special her work is and giving
her the courage to become a more
public person, recount Jardine s early
childhood in "the rarefied enclave"
of the oil-field beach-camps in
south Trinidad, which moulded the
mind of the artist---gave her the
room to climb trees and explore the
living landscape that signature her
work---beetles, dragonflies, snakes
and orchids. There is her father too,
"a brilliant storyteller," who read
fairytales illustrated by British
"Golden Age" illustrator Arthur
Rackham, to Jardine and her two
sisters---something that led Jardine
to first believe that she would be a
illustrative graphic artist.
The carefree days of life in
Trinidad come to an end when Jar-
dine is sent off to a British boarding
school at the age of ten, and only
visits home once every three years.
Although she describes herself as
"always artistic," Jardine realised
that being unusual in any way would
make her a target for bullies, and
says that at school she was "regular
---not particularly academic, good
at sport and art and popular."
"Always going to be an artist"
and "most comfortable with a
paintbrush," Jardine followed the
usual trajectory for those wanting
to be artists in England in the late
1960s. A foundation art school in
Guildford, Surrey followed her sec-
ondary education, and it was here
that Jardine discovered the jeweller
Taking refuge from student
protests that marked the period,
Jardine, who only wanted to focus
on her work, stumbled across an
adult evening class in jewelry-mak-
ing, about a mile away from the
school. She invited herself in.
"I did my little copper earrings
and enamel dust and that sort of
thing. I liked very much working
with the metal on a small scale,"
she says. "Having discovered that
I loved that, I geared my portfolio
to that, but it was like a kind of
mock-up of tinfoil, fur and stuff
like that, cause you don t get the
skills to build real jewelry. Anyway
the art colleges were looking for
ideas rather than finished pieces."
Although denigratory of her early
pieces, her ideas must have given
a glimpse of the artist-jeweller she
could become, because Jardine was
accepted into what is now London s
Central St Martins, University of
the Arts, "one of the few places that
could qualify you back then as a
jeweller," the same place where the
Sex Pistols first performed in 1975
and has among its alumni James
Bond actor Pierce Brosnan and fash-
ion designer John Galliano.
Central St Martins was followed
by the Royal College of Art and,
says Jardine, "when you get there
you know you are in an elite group."
It was the height of a vibrant Lon-
don artistic scene, where the Beatles
were a backdrop to an experimental
world of self-exploration through
drugs, music and Eastern religion.
Jardine spent her early adulthood
in the thick of it, living in places in
west London like Westborne Grove,
Ladbroke Grove across from the
Island Records recording studio, and
a small apartment just off the Por-
tobello Road, in Notting Hill Gate,
which remains the home of famous
musicians, actors and artists.
"It was brilliant to be young back
then. It was just so exciting within
"But I came back home during
the summer holidays and fell in love
with a Trinidadian."
Continues on Page B2
Barbara Jardine wants to be remembered as a Caribbean woman artist who transcended the labels that confined
her work to a small audience. PHOTO: MARIEL BROWN
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