Thursday, September 07, 2006

Teacher's tools: 37th of Sixty-five
Mixed Media
24in X 45 1/2in X 5in

A period of Instruction: 28th of Sixty-five
Mixed Media
30 1/2in X 27in X 2in

The Lookout: 17th of Sixty-five
Mixed Media
24in X 24in X 2 1/2in

Prayer for a safe crossing: 13th of Sixty-five
Mixed Media
24in X 25in X 2 1/2in

Inverted Tree: Man for Hire
Mixed Media

24in X 23in X 4in

“Immigration” series; paintings are numbered 1/36 to 36/ 36

Painting, relief carving and found materials are combined in this work to construct what are portraits of the self, draped onto another armature. The tactile quality of the work makes connections to the tangible, the idea of being able to grasp, to see what's beneath the surface, to understand.

The formal arrangement of these elements evokes and questions the notion of static interacting and linear interpretations.

Relationships, thus, are made between forms of representation in the tradition of abstract painting and portrait painting. This distillation of elements implies the conscious and unconscious recognition of truth/fact.
The face implies definitive identity, the idea of knowing you know the “real” truth.


In Another Man's Yard

With this piece, In another man’s yard, I seek to question the notion that there is always something better elsewhere… the notion that the metaphorical load that one has to bear is absolutely a singular and solitary experience. An experience that is personal to no one else.

Using a reworked version of the idea of the sword of Damocles, I have hung over 250 machetes, sheathed and naked, by fine monofilament. These metal blades hang at various lengths from the 14ft ceiling, forming a column that travels to the gallery's floor then spread out, like the roots of the silk cotton tree. The column of machetes, when acted on by wind or strong draft moving through the space, will sway as a whole. At times individual members while spinning and swaying might make contact with others creating sound.

The machete speaks to a Caribbean experience, where this ubiquitous tool has played its part in cultivation and revolt.

Wednesday, September 06, 2006

"A Rushing We Will Go: Same, Same"
Cardboard and glass

Tuesday, September 05, 2006


John Beadle, the son of a Jamaican-man and a Bahamian-woman, was born in the Bahamas, on the Island of New Providence in 1964. He obtained a B.F.A. in painting from the Rhode Island School of Design, studied in Rome, Italy as part of RISD’s European Honor Program, and got a M.F.A. in painting from The Tyler School of Art, of Temple University.

A founding member of the art group OPUS5, a founding member of the art group B.C.A.U.S.E., a member of the investigative art group B.B.B., and a designer and Sculptor in the Junkanoo festival group, One Family.


MFA, Tyler School of Art, Temple University
BFA, Rhode Island School of Design
European Honor Program, RISD Rome
The College of the Bahamas

Selected Exhibitions:

Funky Nassau/Rediscovering Identity, National Art Gallery of the Bahamas.
3rd National Exhibition (NE3), National Art Gallery of the Bahamas.
Funky Nassau/Rediscovering Identity, Nassauischer Kunstverein, Germany.
Big River 3: Little Carib Theater, Port of Spain, Trinidad.

Restacking the Stones, Site-specific installation, 2005 until, Phase one – Mt. Vernon, Nassau, Bahamas.
Art International 05, Guaranty Bank, Nassau Bahamas.
Transforming Spaces, Post House Studio Gallery, Nassau, Bahamas.

Taylor & Beadle, Doongalik Gallery, Nassau, Bahamas.
Connections, Pro Gallery, The College of the Bahamas, Nassau, Bahamas.
2nd National Exhibition (NE2), National Art Gallery of the Bahamas.
1st Annual Bahamas Art Invitational, CRE VIII, Ladder Gallery.

The Inaugural National Exhibition, National Art Gallery of the Bahamas.
One Man’s Vision, The D’Aguilar Collection.
24 X 24, Popop Gallery, Nassau Bahamas.
Caribbean Latin Fine Art by the Sea, New York City, Martha's Vineyard.

On The Edge Of Time, Contemporary Art From The Bahamas.
Inter-American Development Bank Cultural Center, Washington D.C.

The Urban Life in the Caribbean, Santo Domingo.

Draw! - Pro Art Gallery, College of The Bahamas, Nassau, Bahamas.
Grands et jeunes d’aujourd’hui, Eiffal Brandly Gallery, Paris, France.
Passage, The Central Bank of the Bahamas.

XXXème Festival de Peinture de Cagnes-sur-Mer, France.

Jammin’, Burnside · Beadle · Burnside, Nassau, Bahamas.

XXIII Biennale Internacional de Sao Paulo, Brazil.
The 1996 Olympic Arts Festival, Atlanta, GA, USA.

2nd Biennial of Painting of the Caribbean and Central American,
Museo de Arte Moderno, Santo Domingo, Dominican Republic.

Jammin’, Burnside · Beadle · Burnside · Malone · Roberts, Nassau, Bahamas.

1st Biennial of Painting of the Caribbean and Central American,
Museo de Arte Moderno, Santo Domingo, Dominican Republic.
Kindred Spirits, Museum of the Americas, Washington, DC, USA.
Exhibition of Drawings – John Beadle, Bahamian Art Gallery.

Emerging Artist of Latin America and the Caribbean, Nagoya, Japan.
Kindred Spirits, B-C.A.U.S.E., 1st Group Exhibition, Central Bank of The Bahamas Gallery.
‘Colour of Harmony’, The College of the Bahamas, Nassau, Bahamas.
‘OPUS-5’ Group Exhibition, The College of the Bahamas.

Dialogue, Artist Gallery, Nassau, Bahamas.
The Fourth Commonwealth Arts Festival, Auckland, New Zealand.

· big River 3 International Artists’ Workshop, Aripo, Trinidad. 2006