Ebony Patterson ExhibitionThe Ebony Patterson exhibition at Bermuda National Gallery is a wild show that exudes youthfulness.The first time I entered the exhibition, I was overwhelmed by what, to my thinking, was the excessiveness of the installations.Actually, I felt claustrophobic and someone suggested, quite appropriately, that it is like entering a walk-in closet. This is fitting, in that much of the exhibition is about a segment of the Jamaican fashion world.The exhibition is Ms Patterson’s response to Jamaican dancehall culture, which was, until recently, completely unknown to me.The first time I remember even hearing the term, was in a lecture given at the BNG, several years ago, by Veerle Poupeye, director of the National Gallery of Jamaica, but it has been only recently that I have considered it in any depth.In an attempt at self-education, I downloaded a number of dancehall videos, so I now have some idea of dancehall music, which to my ear, is loud, sensual and with a heavy beat.Although I have read that the lyrics are often problematic, they are unintelligible to my ears, just as rap generally is.Anyhow, to me, this show is the visual counterpart of dancehall music. The BNG walls in Ms Patterson’s exhibition area have been papered with a floral design.At regular intervals, a larger, more pronounced floral design has been attached to the underlying paper. This acts as the visual correspondence of the musical beat.The exhibition, which is called Out and Bad, suggests a number of meanings.Apparently, in the vernacular, “bad” can mean something positive and “out” may be about “coming out”, as with a homosexual. I also understand that it is a common Jamaican expression of joy and satisfaction.There is, I am told, a macho element in Jamaican dancehall, but dancehall men’s fashions are, on the contrary, quite feminine.Ms Patterson’s central installation in the Main Gallery at the BNG exhibits this contradictory aspect of dancehall men’s wear.The fabrics she uses in dancehall clothing, typically, are floral, patterned or lacy, as well as being in colours we tend to associate with the feminine, such as pink or red.But are these elements really contradictory to masculinity, anymore so than the colours used in Bermuda shorts? Is this a conditioned response?If we study the history of men’s fashions, a few centuries back, lace and brocades were in common use and in our own times, certain segments of society, such as the beat generation, were known for offbeat clothing.It has been suggested that there is an identity aspect to dancehall culture, in that the fashions are, by extension, an expression of who the participating individuals consider themselves, either to be or wish to be.In other words, there is a creative reinventing of their own personal identity.With that in mind, what would we do if we wished to reinvent ourselves, or is our own identity actually something we have created?At intervals along the walls of the Main Gallery, there are four installations that are said to be shrines, with offerings of liquor, fake money, flowers and even pink painted concrete blocks.The primary object in each installation are, however, four woven tapestries, which have been embellished with glitter and sequins.For many, “tapestry” means some kind of fabric design, which can include embroidery and appliqué, as well as being woven, but strictly speaking, tapestry is really a woven design or picture.Ms Patterson’s tapestries are woven and depict dancehall clothing, as well as shoes and even pink concrete blocks.Traditionally, tapestries are woven on special looms and typically, are labour-intensive and consequently, costly to produce.I was curious as to how Ms Patterson went about getting her tapestries woven and thus learned that it is now possible to take a design to Walmart and by means of a computerised loom, get it woven at a fraction of the cost of traditional tapestries.She did say, however, that the colours selected by the computer from the scanned design, may be somewhat different from the original.The addition to her tapestries of glitter and sequins, reminds me of the British-Nigerian artist, Chris Ofili, who frequently embellishes his paintings with multicoloured sequins, as well.The exhibition continues in the BNG’s lower mezzanine, where the installations resemble a shop, or as the Jamaican’s say, a shap.Here you can find, not only dancehall clothing, accessories, shoes and bling, but also the chemicals used in another aspect of dancehall culture: skin bleaching.This latter phenomenon is contentious, both from a health perspective, as well as sociologically. Still, those who go in for skin bleaching, liken it to something akin to whites seeking a tan and that can also be unhealthy, if taken to extremes.Ms Patterson’s exhibition at the BNG is the largest installation that the artist has ever undertaken and this is being noticed elsewhere, especially in the Caribbean art world, but also in the US and Canada.Given our isolation, it is gratifying to receive this kind of recognition. Because of economics, however, the BNG, several years ago, found it necessary to cut back on imported exhibitions.This therefore, is the first overseas show in a number of years and, although it is a show that can be enjoyed by just about everyone, it is especially geared to Bermuda’s youth.‘Out and Bad’ is a highly recommended, thought-provoking exhibition. The Bermuda National Gallery is open every weekday from 10am to 4pm and Saturdays from 10am to 2pm. Admission is free. The exhibit continues through May 25.