Camille Chedda

Camille Chedda was born in 1985, in Manchester, Jamaica. She attended the Edna Manley College of the Visual and Performing Arts (BFA Painting, 2007) and the University of Massachusetts, Dartmouth, Massachusetts (MFA, 2012). Chedda is a lecturer at the Edna Manley College of the Visual and Performing Art and Project Manager for the InPulse Collective, and artistic and a social initiative to support urban Jamaican youth through the practice of visual arts in Kingston {InPulse Collective Kingston}.

Career

Camille Chedda work was included in the traveling exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago (2017 - 2019), Museum of Latin American Art, Los Angeles, California; The Jamaica Biennial (2017), National Gallery of Jamaica, Kingston, Jamaica; the 4th Ghetto Biennale (2015), Port-Au-Prince, Haiti; and Jamaica Pulse: Art and Politics from Jamaica and the Diaspora (2016), Royal West of England, Bristol, UK. {biennial catalogue, Nation Gallery of Jamaica}

Camille Chedda's work observes gender and sexual taboos, with the work rooted in the psychological trauma of the Middle Passage in Too Close for Comfort. Her work engages with themes of identity, class and race, which have been a result of the Transatlantic Slave System. Key to the engagement is her choice of materials, which includes the use of disposable plastic bags and, more recently, cement. Too Close for Comfort (2016) focuses on how bodies were stacked together on slave ships as cargo. {Jamaican Pulse: Art and Politics from Jamaica and the Diaspora}

Chedda's work Rebuild, made in 2015 during the Ghetto Biennale in Port-Au-Prince, Haiti, was an installation of cast cement, plastic bags, sequins, plastic toys and objects, rice, printed text and concrete block, explores notions of loss, associated with the 2010 earthquake that destroyed sections of Haiti. The house was thought to have been made from substandard concrete blocks and Chedda’s work echos discussion about proliferation of poor materials used in already undermined communities {http://hospitalfield.org.uk/camille-chedda-selected/ } The work looks at the wider issue of neo-colonial devastation, in part created by state malpractice and the politics of neo-liberal global interference that the Caribbean region and other developing world nations face.

Chedda's work in the group exhibition Insides (2015) at New Local Space, along with Oneika Russell, Phillip Thomas and Prudence Lovell utilised the methods of drawing beyond its more conventionally recognised use as a preliminary means of generating ideas behind the scene, to highlight the autonomous entity that drawing can be in contemporary art practice. The exhibition touched on subjects such as violence against the black body, distorted connectivity in the digital age, and notions of obscurity and transendence in the context of displacement. Chedda’s installation consisted of portrait renderings on the interior of plastic bags speaking simultaneously to fragility and dispensability of the subjects depicted therein. She uses the very act of drawing poignantly as a conceit to question the value ascribed to black lives, their visibilty, and the place in society that their deaths occupy. {Insides, NLS}

Chedda has completed residencies at Hospitalfield in Scotland in XXXX, Alice Yard in Port-of-Spain, Trinidad in XXXX, and Art Omi in New York in XXXX {https://caribbean.britishcouncil.org/2017-british-council-taare-artist-camille-chedda}.

Awards

She is the recipient of numerous awards including the Albert Huie Award (XXXX), the Reed Foundation Scholarship (XXXX) and the inaugural Dawn Scott Memorial Award for an outstanding contribution to the Jamaica Biennial (2014) {Insides, NLS}

References http://www.loopjamaica.com/content/rubis-inpulse-art-project-launches-exhibition

http://hospitalfield.org.uk/camille-chedda-selected/

https://caribbean.britishcouncil.org/2017-british-council-taare-artist-camille-chedda

External Link