Residue by Kelley-Ann Lindo

Encompassing both the Oracle and Gund Galleries, Residue consists of nearly 30 works ranging from sculpture, prints, textiles, and video. Exploring the artist's family history and hometown of Kingston, Jamaica, Residue brings into question the excavation of memory, mining personal archives, colonial echoes in the Caribbean, and the tensions between domestic interiors and architectural facades. The exhibition’s title repositions the term “residue” to cherish what remains rather than the negative connotations of tarnished or stained. The “residue” becomes a compass to help navigate the path forward.

The colors of the Oracle Gallery evoke commonly used house paint in Jamaica, specifically, those manufactured locally by Berger Paints Jamaica Ltd. — one of the largest monopolies on the island — which has its “colourful beginnings in 1760” and has operated in Jamaica since the mid-20th century. Designed to be affordable and durable, the “Magicote” line of colors offers a limited palette, resulting in color pairings that may seem odd outside of the Carribean.

The tapestries, textiles, and hair brushes evoke the intimacy of the domestic interior. The repeated use of imagery suggests a kind of personal iconography: portraits of loved ones, horses, and athleticism can be seen throughout the galleries. The artist’s father, grandfather, and uncle appear in multiple works based on a photographic reference, which remains some of the only images Lindo has left of her family. In exploring what has been lost in the family archives, a narrative of immigration, nostalgia, and collective memories unfolds.

More information on the artist and their practice here.