Ann Rudder with her artwork Tree of Life.
At age 7 or 8, living in Englewood, New Jersey, I wasn’t aware my late Barbadian father Frank Lisle Rudder, was a pretty good watercolorist, or knew Aunt Dorothy was a milliner. Or even that Aunt Winifred painted with oils. But soon I also drew well enough to ‘win’ a few children’s art contests, even one featured on TV: ‘Bill Baird’s Marionette Show’, from which my prize, “The Golden Book of Pirates, Ships and Sailors” primed me to receive free stuff. Upon my Dwight Morrow High School graduation, I earned an Art Scholarship to the New York Phoenix School of Design, Class of 1963, obtaining a ‘Certificate’ in Advertising Design.
However, I had a few other New York City jobs – as Assistant Fashion Co-ordinator at Sterns Brothers. I also was a part-time Disc Jockey at The Rolling Stone Club, 45th St. & Lexington Ave, where a few of us were given invites to “experience” Jimi Hendrix’s first NY gig at “The Underground” a converted subway station in the West Village. And yes, he did light his guitar (and the world) on fire that Sunday night.
My first paying Art Job was for the Pentone Company, a commercial Houston St. enterprise that crafted full-scale art displays for a wide variety of clients: from Eastern Airlines to The Vatican Pavilion at the NYC World’s Fair. Everything was fast-paced as the 15 + workers each had multiple skills of woodcraft, welding, textile drapery, model sculpting point of sale displays etc. I was on the line and detail color paint crew. The pin-spotlighted, midnight blue velvet backdrop for THE PIETA was our success.
Soon my “Music & Art” portfolio brought me to San Francisco. I was Receptionist for Bill Graham’s Fillmore Records by day, while scouting bands and making costumes by night. I have a “Continuity Credit” on Santana’s ABRAXAS album, having repainted the ‘correct title’ on the cover art sent from Columbia Records.
My traits seem to reflect Design Details, Historic Information, and Collage Cargo. When I combine said ingredients into my creative endeavors, usually something of newfound beauty occurs. If the work is a garment, my use of mixing worldwide fabrics reflects appreciative color harmony.
With this format applied to my CAFA 2024 entry: SACRED RITES, GLORIOUS HARVESTS, OUR ICHIROUGANAIM, I referenced information on natural agricultural items grown by local Caribbean indigenous people. Said foodstuffs also sustained those who “came to conquer or colonize” humanity of this hemisphere. My “food facts of history” is a unique paint and word offering rendered on Barbados Blackbelly Sheepskin as a visual storyboard.
My next ‘deep dive’ will reflect the important “1619 To 1627” collision of cultures between Barbados, the Carolinas, and Britain. An earlier textile work titled: BETSY LEMON, SETTING TOGETHER QUILTING SOFTLY explores the co-mingleof Bajan women’s handiwork with ‘Low Country’ Carolina crafters. I just need to winnow the info I have assembled and Just Do It as Goddess Nike advises. I have skins and fabrics ready to drop.
– Ann Rudder
The CaFA Fair Barbados returns to Bagnall’s Point Gallery, Pelican Village Craft Center, Bridgetown, Barbados from March 6 – 10, 2024, featuring 45 artists and galleries representing 16 Caribbean nations, Ghana, Nigeria, Senegal, the UK, and the USA. For further information, please visit the official website.
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