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A stylized portrait shows a young woman seated against a wide, pale background. She has deep brown skin with warm orange undertones. Her large, glossy black curls billow outward in thick spirals, framing her face and shoulders like a halo of looping lines. Small white earrings punctuate the dark hair. Her expression is steady and slightly guarded, eyes lifted upward, mouth parted as if mid-thought. She wears an off-the-shoulder dress patterned with delicate flowers with crisp edges that hint at cut paper and wallpaper. Her arms cross firmly at her waist, hands stacked with fingers carefully outlined, nails painted, and tiny marks on the skin. Beside her, a single bird-of-paradise bloom arcs in from the right with a green stem bending like a gesture, carrying sharp red-orange petals that flare near her chest, as if the flower is speaking in bright punctuation.

In the “Bony Ramirez: Cattleya” exhibition, the Newark Museum of Art describes the artist’s practice as shaped by childhood memories of the Dominican Republic and by Caribbean histories, explicitly linking botanical forms to the legacies of colonialism, tourism, and the question of what “resistance” can look like. His repeated use of tropical flowers is not simply decorative. The blooms are read as carrying trauma and miscommunication to be beautiful, but also signaling what cannot be said plainly.

“Strelitzia” ( bird-of-paradise) deepens that tension as a flower native to southern Africa but named through European royal homage, its very taxonomy echoing the entanglement of nature, collecting, and power. Here the stem leans toward the sitter like an inherited narrative that is exoticized, admired, and burdened while her crossed arms and gaze insist on self-possession. She is a contemporary woman refusing to be reduced to “paradise,” holding dignity and interiority in the face of a history that has too often turned people and places into scenery.

A stylized portrait shows a young woman seated against a wide, pale background. She has deep brown skin with warm orange undertones. Her large, glossy black curls billow outward in thick spirals, framing her face and shoulders like a halo of looping lines. Small white earrings punctuate the dark hair. Her expression is steady and slightly guarded, eyes lifted upward, mouth parted as if mid-thought. She wears an off-the-shoulder dress patterned with delicate flowers with crisp edges that hint at cut paper and wallpaper. Her arms cross firmly at her waist, hands stacked with fingers carefully outlined, nails painted, and tiny marks on the skin. Beside her, a single bird-of-paradise bloom arcs in from the right with a green stem bending like a gesture, carrying sharp red-orange petals that flare near her chest, as if the flower is speaking in bright punctuation. In the “Bony Ramirez: Cattleya” exhibition, the Newark Museum of Art describes the artist’s practice as shaped by childhood memories of the Dominican Republic and by Caribbean histories, explicitly linking botanical forms to the legacies of colonialism, tourism, and the question of what “resistance” can look like. His repeated use of tropical flowers is not simply decorative. The blooms are read as carrying trauma and miscommunication to be beautiful, but also signaling what cannot be said plainly. “Strelitzia” ( bird-of-paradise) deepens that tension as a flower native to southern Africa but named through European royal homage, its very taxonomy echoing the entanglement of nature, collecting, and power. Here the stem leans toward the sitter like an inherited narrative that is exoticized, admired, and burdened while her crossed arms and gaze insist on self-possession. She is a contemporary woman refusing to be reduced to “paradise,” holding dignity and interiority in the face of a history that has too often turned people and places into scenery.

“Strelitzia” by Bony Ramirez (Dominican American) - Acrylic, soft oil pastel, color pencil, wallpaper, Bristol paper on wood panel / 2024 - Newark Museum of Art (Newark, New Jersey) #WomenInArt #BonyRamirez #Ramirez #NewarkMuseumofArt #PortraitofaGirl #art #artText #CaribbeanArt #CaribbeanArtist

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Artist Osmond Watson titles the work in Jamaican Creole, turning “Psalm 23” from the Christian bible into everyday speech and locating faith in the lived world of a market. He monumentalizes a working Black Jamaican woman whose spiritual practice sits alongside economic self-reliance with produce for sale below, and holy scripture at the center. 

The woman sits looking slightly to our right with calm steadiness. She wears a pale blue headwrap that catches the light, a short-sleeved checkerboard blouse in warm reds and golds, and a blue skirt that folds in soft, heavy arcs across her bare knees. Her hands clasp an opened brown “HOLY BIBLE” book in her lap. She sits inside a market stall improvised from boards, nails, and sheet metal as angled wood planks hold up a tarp above her, a wooden barrel curves at left, and a patterned blue metal panel frames the right edge like a patched wall. At her feet, ripe round, orange-red and golden fruit spills forward, while a basket of red beans and a metal cup sits at the lower right.

The space feels intimate and guarded as dark corners press in, yet the woman’s presence holds the scene, as if prayer and work share the same seat. Her skin is rendered in deep, glossy browns with cool green shadows, outlined with decisive dark contours that sharpen cheekbones, eyelids, and her nose. Two silver bangles circle one wrist and a ring glints on a finger. Her mouth is closed, neither smiling nor stern, more like someone looking up while reading. The geometry of the stall and the careful stillness of her pose make the Bible feel like the painting’s quiet compass.

Painted in early post-independence 1969, it affirms Black Jamaican dignity being direct, unsentimental, and public. The cubism-touched geometry, saturated color, and heavy outlines lend a stained-glass intensity, elevating everyday items and daily labor into icon. As critic David Boxer put it, Watson wanted art that could be “understood and appreciated by all levels of society.”

Artist Osmond Watson titles the work in Jamaican Creole, turning “Psalm 23” from the Christian bible into everyday speech and locating faith in the lived world of a market. He monumentalizes a working Black Jamaican woman whose spiritual practice sits alongside economic self-reliance with produce for sale below, and holy scripture at the center. The woman sits looking slightly to our right with calm steadiness. She wears a pale blue headwrap that catches the light, a short-sleeved checkerboard blouse in warm reds and golds, and a blue skirt that folds in soft, heavy arcs across her bare knees. Her hands clasp an opened brown “HOLY BIBLE” book in her lap. She sits inside a market stall improvised from boards, nails, and sheet metal as angled wood planks hold up a tarp above her, a wooden barrel curves at left, and a patterned blue metal panel frames the right edge like a patched wall. At her feet, ripe round, orange-red and golden fruit spills forward, while a basket of red beans and a metal cup sits at the lower right. The space feels intimate and guarded as dark corners press in, yet the woman’s presence holds the scene, as if prayer and work share the same seat. Her skin is rendered in deep, glossy browns with cool green shadows, outlined with decisive dark contours that sharpen cheekbones, eyelids, and her nose. Two silver bangles circle one wrist and a ring glints on a finger. Her mouth is closed, neither smiling nor stern, more like someone looking up while reading. The geometry of the stall and the careful stillness of her pose make the Bible feel like the painting’s quiet compass. Painted in early post-independence 1969, it affirms Black Jamaican dignity being direct, unsentimental, and public. The cubism-touched geometry, saturated color, and heavy outlines lend a stained-glass intensity, elevating everyday items and daily labor into icon. As critic David Boxer put it, Watson wanted art that could be “understood and appreciated by all levels of society.”

“The Lawd Is My Shepard” by Osmond Watson (Jamaican) - Oil on canvas / 1969 - National Gallery of Jamaica (Kingston) #WomenInArt #OsmondWatson #NationalGalleryofJamaica #JamaicanArt #CaribbeanArt #PortraitPainting #BlackArt #art #artText #BlueskyArt #PortraitofaWoman #JamaicanArtist #CaribbeanArtist

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Preview
Trinity Celebrates Caribbean Womanhood in “Dat Is Woman”

Trinity’s “Dat Is Woman” is a full-bodied salute to Caribbean strength, style, and spirit—a celebration of womanhood rooted in rhythm, history, and fire. Step into the story.
👀👉 www.kaisodial.com/2026/01/trin...
#DatIsWoman #CaribbeanWomanhood #KaisoDial = #WomenInCalypso #caribbeanartist

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✶ Artfight Batch 3 ✶

Bleu ✶ buffalobleu (on AF)
Inku ✶ Jahsinix (on AF)
Julia ✶ tonk_draws (on AF)
Star Twins ✶ Angel_Void07 (on AF)

#caribbeanartist #treamfossil #artfight #artfight2025

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✶ Artfight Batch 2.5 ✶

Idẹ ✶ @asurii.bsky.social

#caribbeanartist #treamfossil #artfight #artfight2025

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✶ Artfight Batch 2 ✶

Jax Vega ✶ @faespy.bsky.social
Chanterelle ✶ Vervayne (on AF)
Westley ✶ sunja (on AF)
Catfish Cat ✶ INFANTEATER (on AF)

#caribbeanartist #treamfossil #artfight #artfight2025

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✶ Artfight Batch 1 ✶

Now looking to share these artfight attacks/revenges ✦

Khalsa ✶ FoxShadeZ (on AF)
Demir ✶ Seraph11m (on AF)
Mary ✶ CursiveFoil214 (on AF)
Damien ✶ @xuiminie.bsky.social

#caribbeanartist #treamfossil #artfight #artfight2025

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LOVE YOU
30min. drawing time
5.5×8.5 paper
Pen, marker, pencil.

#webringarttolife #art #artwork #contemporaryart #artist #drawing #sketch #artlife #artsky #love #iloveyou #graphic #contemporaryartist #artistonbluesky #oklahoma #oklahomaartist #oklahomaart #caribbean #caribbeanartist

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Just saw this Lisa O’Connor (1965-2020) painting of Sunflowers and, in the midst of the commesse that is #TrinidadandTobago today, it makes me feel happy
Her memory remains a blessing
🇹🇹🇯🇲 #CaribbeanArtist

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Video

From selling cupcakes on the street to building a platform for Caribbean artists, #Sheree fuses dancehall, reggae, R&B, & pop into something unmistakably her own.

🎧 Learn her journey → www.showcasedaily.com?sid=1242%E2%... ⁠

#Showcase #Sheree #CaribbeanArtist #WomenInMusic #NewMusic #AyanaSheree

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✦ Jouska Daaga ✦

Caretaker of the deceased moulded from the clay of the deceased ✦

#ocart #furry #characterdesign #caribbeanartist #T&Tartist

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Video

My latest piece, Oju Olorun V, is up at Ed’s Real Scoop Leslieville for June! 👁️✨

Art meets spirit. Ice cream meets fire. Come see the vision.
📍 920 Queen St E
#OjuOlorunV #ApanakiDesigns #TorontoArtScene #BlackArtMatters #TextileArt #CaribbeanArtist #EdRealScoop #ArtAndIceCream

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I know there’s only 11 days left in may but it’s still #mermay !!! 🧜‍♀️ 🌴

#caribbeanartist #tropical #digitalart #mermaid

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All of my kofi #commissions in a nice thread !🧵

Any like and/or share for visibility is highly appreciated

#Vtuber #kofi #freelance #vtuberartist #illustrations #SmallArtist #CaribbeanArtist #POCartist #NoAI #2DArt #YCHcommissions

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Character reference sheet of a borzoi-like beast holding a staff made of citrus and palm. It has thick dark fur, a tail as long as it's body, and a rope collar made of terracotta around its mane.

Character reference sheet of a borzoi-like beast holding a staff made of citrus and palm. It has thick dark fur, a tail as long as it's body, and a rope collar made of terracotta around its mane.

The original 2022 version of the borzoi-beast's reference sheet. Everything remains roughly the same compared to its newer counterpart, though the medium is drawn traditionally with ink and coloured pencils on paper instead of digital.

The original 2022 version of the borzoi-beast's reference sheet. Everything remains roughly the same compared to its newer counterpart, though the medium is drawn traditionally with ink and coloured pencils on paper instead of digital.

✶ Payne's Hound ✶

Ref sheet for another one of my Medieval Tapestris lads ✦

Ex-royal war hound of a dictator and a fool, ole boy roams the battle fields interrupting folktales as he feels. An editor, if you will ✶

#oc #ocart #furry #illustration #caribbeanartist #T&Tartist #artfight #artfight2025

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Same look biography, with a small update 🙃

#art #artist #abstractartist #trinidadartist #caribbeanartist

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✦ Carousel ✦

Introducing Carousel; a horse who bit an angel and one of my Medieval Tapestris ocs ✦

#oc #ocart #furry #illustration #caribbeanartist #T&Tartist

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Some birthday week gifts for my girlies @frogrye.bsky.social , @nahlo.bsky.social and I ✦

#oc #ocart #furry #illustration #caribbeanartist #tntartist

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Being An artist in the Caribbean is crying just a little bit every time you enter a stationary story because you know they won’t have the art supplies you’re looking for. #caribbeanartist #art #caribbean

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This is Lady Dyablès.
She is an homage to my island and she is so cool. That’s it.

#caribbeanartist #art #guadeloupe

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Detail of the day…. The mood is ‘yearning’ - Oil and wallpaper on canvas #BlackBritishArtist #BlackArtist #CaribbeanArtist #Womenartists

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A moment of appreciation please for the newest additions to my 70s wallpaper collection! 😫🤩 #BlackArtist #WindrushGeneration #BlackBritishArt #CaribbeanArtist

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There’s a quality to my underpainting that makes me want to go no further. There really is something in these weird, uncomfortable colours…
#BlackBritishartist #BlackArtist #Caribbeanartist #Jamaicanartist #Womenartist

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Danielle Boodoo-Fortuné
Artist
dboodoofortune
I want a lush life full of movement and light,
a forest teeming with life on the inside.
It doesn't matter what it looks like on the outside.
I am my own forest, lit by only the love I choose.
🌌❤️🌿

#trinidadandtobago #caribbeanartist #triniartist

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Video

If romanticise your life was a person.

Scenes from the process.

#art #artsky #caribbeanartist #blacksky

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Untitled
Acrylic on canvas
#acrylicpainting #caribbeanartist #Caribbeanart #caribbeanpainter #canvaspainting

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My latest painting
#caribbeanartist #acrylicart

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Hiii these are the two paintings I completed last night. It took me 7 hours. 😪😅
#acrylicart #caribbeanartist #caribbeanartwork #blackart #artists ##acryliconcanvas #acrylicpainting #africanart #fyp

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QRP with your sketch vs final artwork! 💙💛🖤

bajan cropover/ barbados carnival miku for the regional miku trend

this started making its rounds on tumblr again so figured i'd share it here too :3

#arttrend #miku #caribbeanartist

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Love painting the Caribbean!! 🌴 #palmtree #nature #art #caribbeanartist #artist #tbisurvivor #acryliconcanvas #pauleneedwards

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