Dingolay: painting without limitations
5. – 17. 8. 24

In Trinidad and Tobago, “dingolay” refers to any activity undertaken with spontaneous, joyful, and carefree abandon. It assumes a disposition of pride, an absence of calculated or cautious self-awareness, a desire to be provocative (but not offensively so), and results in the freedom conferred by an intent focus on the inner logic of the activity—whether dance or music. In all senses of the word, it requires one to give oneself entirely to the activity and in such a way that onlookers are either drawn into the activity themselves or judge it as evidence of madness. Originating from the French colonial heritage of the twin islands, it refers most literally to that which is flung about in a crazy or carefree fashion.1 Through the music and movement of Carnival, participants will explore painting without a plan’s limitations. Understanding that the practice of painting is serious, Curtis invites participants to be liberated in their approach, explore the unknown and create a divergent body of work.

Participants are invited to bring works in progress or undertake new works relevant to their current practice. They can bring materials from their studios but also reclaimed items for inspiration or incorporation into their work in class. Curtis is adept at integrating found items into his work and encourages participants to utilize various media in the painting process. The Dingolay approach may be applied to either figuration or abstraction, whichever is part of the practice.