Nara Winstoninstagramemail




















How do Caribbean fictional and non-fictional spaces interact, relate, disconnect, clash and coincide? What is the Caribbean non-fictional, and fictional space to me? To the world? Is it a construct that is the result of the gradual evolution from the plantation fields to a notion of paradise?

Is the Caribbean to the Western World a collection of interchangeable islands? If so, how is that possible when the reality is that the history of the Caribbean is one of the main strands in the history of capitalism?

Are these questions themselves a representation of a non-fictional Caribbean space?

How do I recreate a space that allows viewers to ask themselves questions about the reality and unreality of the region that I call home?

This work navigates these questions through a recreated space where both fictional and non-fictional Caribbean realities exist; they don’t necessarily co-exist, but are also not mutually exclusive. I’m not looking to answer questions, but to play with them, to ask more. I’m exploring these curiosities by using visual languages which connect to recurring themes that stand out from the questions above. The use of the language of advertisement and construction equipment comes from wanting to play with how the notion of paradise is sold to begin with, and how everything feels like a construct at times. Always unfinished and always under construction.