Congratulations to Jonathan Marc Boden and Kayley Gibbons, the winners of the inaugural BNG x Goslings annual holiday wrapping paper design competition. Artists and designers were invited to submit designs for a Black Seal inspired wrapping paper which will be produced and sold at the Goslings Dundonald Street wine shop and Front Street store.
Over 60 applications were received, which were judged blind to ensure a fair selection process. The selection committee included Peter Lapsley, Executive Director of the Bermuda National Gallery, Malcolm Gosling, President and CEO of Goslings International Limited and Sami Lil, founder of award-winning creative studio Uber Super Duper.
Kayley Gibbons won the 18-25 age category for her striking black, white and red design. Jonathan Marc Boden won the 26 and over category for his playful candy cane design. The two winning designs will be featured in the windows of the Goslings Front Street store, to be unveiled at the end of the month.
In addition to a cash prize for both winners, Kayley Gibbons, who won the 18-25 category, will receive a Bermuda National Gallery Mentorship which includes meeting with local art and design professionals and the opportunity to be involved in upcoming BNG exhibition design as well as a Goslings Rum Mentorship in Brand Development, giving her an insight into how Goslings maintains and advances their brand identity.
We look forward to seeing the winning designs in print and under the Christmas tree!
This year marks 400 years since the first sitting of parliament in Bermuda. To celebrate, we will be unveiling a limited edition reproduction of the Magna Carta which has been generously gifted to the Bermuda National Gallery to be used as an educational resource.
Please join us at BNG on Tuesday December, 8 at 5.30pm to hear Ben Adamson, a Director in the Litigation department in the Bermuda office of Conyers Dill & Pearman, and Saul Dismont, an Associate in the Litigation and Advice Team at Marshall Diel & Myers Limited, in conversation on the importance of the Magna Carta and its role in the rule of law.
Due to social distancing regulations, capacity is strictly limited and all attendees must register in advance. Tickets are free and open to both BNG members and the public.
Looking for the perfect gift for the art lover in your life? Why not consider one of the Bermuda National Gallery coffee table books, each one is as informative as it is engaging, providing a unique insight into our island’s artists.
We also have original artworks by Jon Leger produced by the artist to accompany his 2020 Bermuda Biennial installation. Each one is hand painted and part of a very limited run. Reserve yours today by emailing email@example.com.
Or consider a BNG membership, either for an individual or for the whole family, giving them the gift of art all year round. As for stocking stuffers, the 2020 Bermuda Biennial tote bag makes the perfect addition.
Every purchase directly supports Bermuda National Gallery.
We have a very limited number of original artworks produced by mixed media artist Jon Leger. Alphabeta, $50, shown above, is hand painted by the artist and produced in an edition of 20.
Cross Currents: Impressions of Bermuda, $30, showcases the works in the David L.White Collection, a unique collection of Bermuda landscapes spanning the 1860s to mid 20th century.
Published on the occasion of the Bermuda National Gallery’s 20th anniversary, Bermuda National Gallery: An Introduction, $30, explores the gallery’s collections and its unique place in Bermuda.
Sure to delight children young and old, Woolcock’s Wonders, $25, was published to accompany a retrospective of political cartoonist Peter Woolcock’s work held at the BNG in 2016.
Inspired by the writings of Toni Morrison, the 2020 Bermuda Biennial tote bag, $10, displays a quote by the late Nobel laureate which encourages us to be the author of our own stories.
All purchases directly support the Bermuda National Gallery and can be bought at the front desk. BNG is open Thursday and Friday 10am-4pm and Saturday 10am – 2pm.
In these unprecedented times Bermuda National Gallery has strived to deliver uninterrupted, relevant and engaging arts and cultural content to the community.
This has meant completely reimagining our daily operations, with staff moving to a remote working model for six months, updating systems and software and investigating innovative ways to showcase our exhibitions and programmes.
We have achieved much of this, greatly expanding our digital channels and reimagining how we utilise our existing resources all while simultaneously creating new ways to give you access the gallery.
What hasn’t changed, and is increasingly more necessary is the need for member and donor support. It is your crucial donation that will see us through the coming year and will help sustain us for future generations and I encourage you to donate today in support of BNG.
Despite the challenges this year, through our exhibitions and programmes it was also full of dynamic opportunity and I have attached a digital magazine that captures some of BNG’s 2020.
The Bermuda National Gallery and Goslings Rum have teamed up to launch their first Annual Holiday Wrapping Paper Design Competition.
Artists and designers – both professional and amateur – are invited tosubmit designs for a Black Seal inspired wrapping paper which will be produced in time for the upcoming holiday season and sold at the Goslings Dundonald Street wine shop and Front Street store.
There are two age categories: 18-25 and 25 and over. There is a cash prize of $500 for each category. Both winners will also receive a private tour and rum tasting for up to 10 friends at the Bermuda National Gallery, a BNG membership and 10 sheets of wrapping paper.
In addition to this, the winner of18-25 category will receive a Bermuda National Gallery Mentorship which includes meeting with local art and design professionals and the opportunity to be involved in upcoming BNG exhibition design as well as a Goslings Rum Mentorship in Brand Development, giving the winner an insight into how Goslings maintains and advances their brand identity.
The two winning designs will be featured in the windows of the Goslings Front Street store and on both the Bermuda National Gallery and Goslings Rum social media platforms.
The deadline for entry is 5pm on November 13th. The winners will be announced on November 20th.
This contest is open to Bermudian nationals residing both in Bermuda and overseas and residents in Bermuda who have been living on island for 6 months or more.
Must be age 18 or older at the time of application.
Submission is limited to one design per applicant.
Employees of the BNG and Goslings are not eligible to enter.
There are key concepts of the 2020 Holiday Wrapping Paper Competition that the organizing committee would like you to incorporate into the design:
Design must be incorporate the Goslings Black Seal
Design must work as a repeat pattern
Print size: 25.5” x 19”
Include a 0.125” bleed on all four sides.
Submission can be lower res for emailing and judging purposes; if chosen, final art for production should be 300 dpi at size.
Include with entry any ideas for varnish or finishing techniques.
Entrants must follow @bermuda_nationalgallery and @goslingsrum on instagram to be eligible for entry.
Send a PDF of your design, along with your complete contact information, to Eve Godet Thomas, Director of Programming and Engagement at the Bermuda National Gallery at firstname.lastname@example.org
All entries MUST include complete contact information with submission. Name, d.o.b, business name (if applicable), address, phone number + email + instagram handle.
Entries without contact information and who do not follow both instagram accounts will not be eligible for inclusion in the competition.
Entries received after 5pm on Friday November 13th will not be counted.
There are two age categories: 18-25 and 25 and over.
The winners will be contacted directly and announced on the 20th November.
Both winning designs will be put into production and sold at the Goslings Dundonald Street wine shop and the Goslings Front Street store.
There is a cash prize of $500 for each category.
Both winners will also receive a private tour and rum tasting for up to 10 friends at the Bermuda National Gallery, a BNG membership and 10 sheets of wrapping paper.
In addition to this, the winner of 18-25 category will receive a Bermuda National Gallery Mentorship which includes meeting with local art and design professionals and the opportunity to be involved in upcoming BNG exhibition design, plus a Goslings Rum Mentorship in Brand Development, giving the winner an insight into how Goslings maintains and advances their brand identity.
Winners will have the right to use their wrapping paper design as part of their design portfolio.
The winning designs will be featured in the Front Street facing windows of the Goslings Front Street store and on both the BNG and Goslings Rum social media platforms. Winners will also be showcased on the Bermuda National Gallery website and in their arts newsletter.
The winners will be chosen by a selection committee who will pick their favorite design from each category.
The committee will be formed by competition organizers and include island arts professionals.
NOTE: All judging will be based solely on the designs. Submissions will be posted to social media through the organizers. All entrants will automatically be added to the Bermuda National Gallery e-mail list and will receive their fortnightly arts newsletter.
Make the most of the fall weather to explore the Par-La-Ville Sculpture Park, a joint project between the Corporation of Hamilton and the Bermuda National Gallery situated in the Queen Elizabeth Park in the centre of Hamilton.
The majority of sculptures on display are part of The Young Collection which was gifted to the BNG by the former owners of the Lantana Cottage Colony in Somerset. The artworks formed part of the “museum without walls” which they made so popular with visitors to their property.
It was their wish that the sculptures in the collection be displayed publicly in the City of Hamilton so that they may be shared and enjoyed by future generations of Bermudians and visitors as they were at Lantana. The sculptures, along with existing pieces in the BNG’s collection also on display in the park, form part of Bermuda’s National Sculpture Collection.
Whilst there, little visitors can also begin the Tiny the Tree Frog Story Walk. Look out for the large format pages of Elizabeth Mulderig’s Tiny the Tree Frog Tours Bermuda. Follow them across the Queen Elizabeth Park and into Victoria Park where the story concludes.
The Par-La-Ville Sculpture Park, which can be accessed via Par-La-Ville Road and Queen Street, is open from 7.30am to 7.30pm.
Hurricane watching is a Bermudian ritual; the irresistible pull to the ocean front a staunch reminder of the sheer force of nature and our vulnerability in the face of it.
Many rushed to the beaches to watch the towering swells created by Hurricane Teddy roll in earlier this week; the age old tradition given a renewed potency by video footage which quickly spread on social media, allowing even those who stayed home to witness the wildness of the seas in real time.
The awe and excitement of this uniquely Bermudian pastime is encapsulated in the 2000 Bermuda Biennial artwork Hurricane at John Smith’s Bay by John Gardner. Inspired by Hurricane Gert, the work feels as topical today as it did when he painted it twenty years ago.
Weather and the ferociousness of hurricanes has always fascinated the five time Bermuda Biennial artist. As an architect – he trained at Rhode Island School of Design, where he also taught Advanced Architecture – John understands precisely how powerful a storm can be.
As we emerge from a week bookended by Hurricane Teddy and Hurricane Paulette, we caught up with the artist, who did the original architectural and interior work on the Bermuda National Gallery, to look back at the painting and discuss why, as islanders, we will always have an inherent fascination with extreme weather.
BNG: You have a long history with the Bermuda National Gallery. Could you please tell us about it?
JG: I was a member of the original committee in the late 1980’s that was looking to build the National Gallery. At this time the BSoA existed and the Dockyard Arts Centre had just opened.
Through my work with the Corporation of Hamilton, I discovered that the East Exhibition Room of City Hall & Arts Centre was underutilized. I was able to match-make the BNG group with the location with the help of then Secretary to the Corporation of Hamilton, Herman Leseur. I then did the architecture and interior work for the renovation.
Later I was asked to re-join the board in the context of the BNG doing an exhibition on architecture. The exhibition did not transpire, however I stayed on until early plans for retirement started to guide my decisions toward being a creative versus managerial.
BNG: How has the gallery evolved since its early days?
JG: I feel it has evolved in two ways: First, its artistic relevance has grown as it naturally matured to be increasingly professional, sophisticated and international.
Secondly, it has become more relevant and essential to Bermuda as its education programme has supported countless young people to be creative and to understand others being creative.
As a side note, funding has always been a burden, as it is for many non-profits. I wish the BNG could evolve further with a significant endowment from a couple of benefactors, an even stronger collection and the phase 2 expansion that was always part of the vision.
BNG: Hurricane at John Smith’s Bay is 20 years old but is as relevant today as it was then; indeed it always will be given that hurricanes make up part of the fabric of life in Bermuda. Have you always been intrigued by storms?
JG: Yes. I am obsessed by weather. But, this painting is not about storms per se. It is about Bermudians who are obsessed by the ocean’s relationship to land in extreme weather. There is something psychologically reassuring in our ability in Bermuda to experience such power safely from a very close distance. There is also something relevant in us being inexorably drawn to theatrically view the transformation of a picture-perfect setting under siege knowing it will recover.
BNG: Have you done any other paintings of hurricanes?
JG: I have not. This work is the product of a moment. Having just been at John Smiths Bay, I went home and drew what I recalled and painted it before the power went out.
I am very happy with Hurricane at John Smiths Bay. I think it is a significant work, yet it happened spontaneously without desire for that status. It has a timeless vernacular quality in its representation of Bermudians casually doing what we do in dramatic times.
BNG: I understand that the artwork was a study for a mural 30 feet long. Could you please tell us about it?
JG: The mural idea came to mind as the work was painted and as it took on a layered look reminiscent of the Federal Art Project. There was no mural commission but by suggesting it I hoped someone might want to commission it as a mural or even as a mosaic. I still hope someone will commission it at a larger scale.
BNG: The image depicts a scene from Hurricane Gert. What inspired you to capture this hurricane in particular?
JG: I believe that it was the juxtaposition of the dynamic towering waves, near and far, so grey against the collection of people, the flotsam and jetsam. I had just been there with my very young daughters. It was a moment worth capturing, probably subconsciously, for them.
BNG: The painting captures the Bermudian ritual of hurricane watching. Do you take part in this?
JG: Yes, I did in a limited way just before and after the hurricane and, yes, from John Smiths Bay. Interestingly Hurricane Gert was much more fierce but less visible than Hurricane Teddy.
BNG: Why do you think that hurricane watching is so ingrained in our culture?
JG: It is spectacularly beautiful and so accessible for us on this rock in the middle of thousands of square miles of wild ocean. It is irresistible. I believe its inherent wildness, so close but separate, makes us feel safer.
BNG: Hurricanes are an inevitable part of life in Bermuda and something that you contend with every day in your architectural work. Could you please talk us through the ways in which our vernacular architectural shields us from the storms?
JG: The story of the Three Little Pigs comes to mind. Residentially, we build very heavy masonry houses on rock foundations and with particularly heavy (stone) or highly fastened (board and foam) roofs. They cost more to build this way and we work hard to pay for them but they don’t blow down or blow apart too easily.
BNG: You mention in your 2000 Bermuda Biennial artist statement that your architectural work is very public and your artwork is very private. It is rarely exhibited and never for sale. Why is this?
JG: Architecture is a very collaborative profession with a community of professionals and oversight in the formative stages of the work. Once complete, the work is visible for all to see and judge for some time. Visual art is more easily undertaken privately and offers a greater opportunity for reflection without judgement.
Having said this, the statement made 20 years ago is somewhat out of date as my work has become more public as a result of more artistic collaboration such as The Triangle, a 2014 Bermuda Biennial artwork with Tiffany Paynter (spoken word) and Anna Clifford (dance) which was written up in the New York Times.
I have also since developed the Painting on Planes series, which was featured on CNN Travel and TedX Bermuda 2018. I hope to be able to present a serious and well-regarded body of work one day.
BNG: Why is it important for you to keep the two disciplines separate?
JG: Architecture is a tough business. I have not wanted my independent artistic work to operate in that environment. Also, I have found it is hard to do both simultaneously. The creative process between the two is, for me, very different and the time needs to be put in to create work at a high standard.
BNG: Do they overlap in any ways?
JG: I am sure they do as the same mind is making decisions. How they overlap might be a good discussion to have in the near future. I don’t know the answer, yet.
On the 16th March BNG took the unprecedented step of temporarily closing the gallery. We have been working hard behind the scenes to get the gallery ready for reopening and we look forward to welcoming you back this weekend.
The gallery will be open on Saturday, 4th July, exclusively for BNG members who can enjoy a private tour of the current exhibitions with BNG trustee Mitchell Klink who brings a unique understanding of local and global contemporary art that is sure to engage.
Don’t miss this exciting opportunity! Become a member today and join us on Saturday. The tours, which are limited to 6 people, will take place every hour on the hour between 10am and 2pm and must be booked in advance. Click HERE to register.
The gallery will then open to the general public every Saturday as of the 11th July, from 10am to 2pm. Admission is $5 for adults, free for BNG members, seniors, students and NARM members.
The gallery will remain closed during the week, allowing students in the BNG Art + Tech Summer Camp, which runs from the 13th July to the 28th August, to immerse themselves fully in the exhibitions which will serve as a starting point for their projects.
The health and safety of our visitors, volunteers and staff remains our highest priority. With this in mind, we have put the following precautions in place:
Social distancing measures will be observed in the gallery, with a maximum capacity of 24 people at a time.
Increased in depth cleaning measures have been put in place.
Temperature checks will be taken as you enter City Hall.
A hand sanitising station will be available as you enter the gallery.
A plexiglass screen has been installed at the reception desk.
Staff and volunteers will observe strict Covid-19 protocols.
Masks are to be worn by customers and staff. Bespoke BNG masks are on order!
Artwork: Fortissimo by Vaughan Evans, 2008. Lino relief print on BFK reeves paper. 19 x 29 inches. Collection of Bermuda National Gallery. Gift of the Artist.
There are times in each generation when collective action generates fundamental change. Where injustice is recognised and acted upon and the outcomes move our society forward to a better, more just position.
It is with a great deal of hope that our community came together this past weekend to protest systemic injustices on communities of colour in the largest gathering of its kind in memory. It is with anticipation that we look forward to the kind of progressive change that is being loudly and rightly demanded.
Artists and children alike have been showing their support for Black Lives Matter, now the largest civil rights movement in history, through a peaceful art protest. The project, which showcases their solidarity through art, aims to unite all artworks in a larger collaborative collaged artwork expressing unity for the cause.