FRUITS OF THE MARZION QUAKER LIBRARY (9) - KATE THOMAS (2022) 'FALMOUTH AND THE TRANSATLANTIC SLAVE TRADE' AND THREE OTHER GEMS

 I discovered Kate Thomas's booklet on Monday this week in the course of labelling books on the shelves of our library. The full title is 'Collective Amnesia: Falmouth and the Transatlantic Slave Trade' and somehow this booklet and its subject matter had remained unknown to me. 

I shall make contact with Falmouth Quakers and seek more information and understanding about the campaign to raise awareness of the evident racism . One way forward is to move from prominence the wall monument to a slave trader in the Anglican church in Falmouth, adding detail beside it that reveals the truth about Thomas Corker's role in the slave trade. Online, I have found that the latest reference to such a campaign is in 2022; the Church of England hierarchy and bureaucracy, whilst in agreement that action needs to be taken, seem to be stalling further

BEATRIZ MILHAZES AT TATE ST IVES - A PORTUGUESE CELBRATION OF LIFE

 Around a month ago, Louise and I joined our friend Stephen Vranch to view the latest special exhibition at Tate St Ives featuring the work of Beatriz Milhazes. 2024 has been a rich year at our local Tate - in May, I published my blog post about the Tate exhibition focusing on the work of Outi Pieski that we had seen in March - see this link here. From Scandinavia to the north and Brazil to the south, the cultural reach of the Tate has been magnificent. We have had such a riot of colour and form to savour, as you saw with Outi Pieski and see again with Beatriz Milhazes. 

I love the insight in Milhazes' words, referenced in the Tate show:

My context has been surrounded by forests, mountains and coastal experiences; the development of a 'tropical' way of thinking. In St Ives it is very special for me to experience the same ocean as in Rio de Janeiro. Same water, different cultures, but in the end it is all about life.'

Her paintings and collages draw on a range of sources - from the natural and urban landscapes of Brazil to the histories of art and architecture. 

Born in Rio de Janeiro in 1960, Milhazes rose to prominence in the 1980s as part of an 80s art movement that took a new direction away from the austere abstractions of previous decades. Artists within this new paradigm embraced painting as a medium for energy and expression. Milhazes has