Graffiti can be a commentary of a time and place
Along Victoria Avenue, Port of Spain, a wall drawing emphasizing the significance of the �present� Trinidad is composed. Preliminary pencil lines traced over by a more suitable durable pigment, namely crayon to combat the scorching heat of this tropical paradise. This is a line drawing, perfectly boxed by an ornament of whitewashed concrete bricks. Here are memories from an artist in turmoil, of a country�s fast-pace and its dismissive temperament to honor a man�s existence. Recorded like a stenographer at hand, it tells a tale: �What really going on.�
This is a composition from retrospection. There are no high-rises in sight besides the neo-conglomerates aligning the expansive roads of New-Town. The drawing of the Capital�s financial towers are far from the spot. Miscalculated as a thirty-eight story building. This flaw has less meaning to the etching, but the use of the Eric Williams Complex is a calculated one. A tall building characteristic of finance and an island in pursuit of progress.
Set between the foundations of the society, a colonial dwelling and a church. And between them both, a pedestrian in motion. A new breed of inhabitants marching forward to the new vocation, griping a briefcase in one hand and moving with no time to waste. Briskly walking forward without observing or perhaps ignoring the pastoral peasant clothed in period, not of our times. An aristocratic man that finds himself lost.
Across from the haste of progress, this man ponders in opposing parallels, ignoring what happening around him, but yet knowing. Glazing towards the pass and becoming a component of a nation in flux.
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