Rockefeller and Clinton Anthony Cummings

ah showing at MOMA


Clinton Anthony Cummings' street painting on the arrival and discovery of Trinidad by Christopher Columbus in 1498

The globalist, David Rockefeller explains that the role of a museum should have, and foresee the identification of contemporary art which will evolve into future art movements. He stressed that his mother's intuition set the ground work for American modern art from the early part of twentieth century. The founder, Abby Aldrich Rockefeller interest focused on emerging American artists. Established in 1928, the museum is considered as an influential gauge to modern art worldwide.

Mr. Cummings' work can be considered as visionary and his content is based on his christian upbringing. It is as Mr. Rockefeller conceded that the truth behind his upbringing was responsible for his taste in art which surrounded the very entity of his christian ethic. Clinton Anthony Cummings may very well look upon the Museum of Modern Art as a way to exhibit his work as they are an important conglomerate and collective essence of the role of art through the human experience of God, state and circumstances.

The process of Art Mr. Rockefeller explains is the highest form of creativity. Cummings shows that his inner intuition to express himself through these paintings should be appreciated from the layman to the professional alike. Whether any philanthropist are interested in his flight, only time will tell. Dream the impossible and the possible will reveal itself.

The state of Patrimony

Patrimony at the SPACE, Trinidad, West Indies

At the SPACE gallery, Trinidad, artist Adele Todd shows her dimensional embroidery sculpture called Patrimony. The installation is expressive of the political state of Trinidad and Tobago and was described as a derrick and fragmented embodiment which the country is leading towards. Read the artist statement


Patrimony has been extended from July 28th till August 1st, 2008.

Clinton Anthony Cummings' Last Supper

The Last Supper painted on a wall, Port of Spain, Trinidad

The graffiti artist Clinton Anthony Cummings has completed to what appears to be a portrait of The Last Supper. The work is of Jesus of Nazareth with his twelve disciples before his betrayal and exicution. The biblical depiction has been painted many times by artists alike. The most famous and often copied is Leonardo da Vinci's fresco in Milan.

Cummings has painted The Last Supper with a group of people who may represent a part of Trinidad and Tobago. The figurehead may be the street artist himself and the work is a premonition of a nation that feels betrayed and neglected. Whoever the Judases may be in this wall painting, what it says is that it is an inner reflection on the society today. Clinton Anthony Cummings has put his faith and sacrifice to show that his passion and concerns are a small attribute that he cares for unity and brotherhood.


The hand of a ready writer...thebookmann
Work by Cummings in an abandoned lot, Port of Spain.

Thinking like a child # 1

what sustains the sunlight?



This clip is from the film, Plan 9 from out of space produced by Edward Wood. Jr. in 1958. The theory of the Solaronite is explained.

The alien's theory of exploding the sun's rays:

Take a can of your gasoline. Say this can of gasoline is the sun. Now if you spread a thin line of it to a ball representing the earth. Now the gasoline represents the sunlight, sun partials. Here we saturate the ball with the gasoline, the sunlight and put a flame to the ball. The flame would speedily travel around the earth back along the the line of gasoline to the can, or the sun itself. It would explode the source and spread to every place that gasoline, our sunlight touches. Expolode the sunlight here gentlemen, you explode the universe.

In Albert Einstein's theory of relativity, he concluded that if one could travel at the speed of light, time would stand still. A question here is were does light end?

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How Albert Einstein processed thought and language.

In the following, I am trying to answer in brief your question as well as I am able. I am not satisfied myself with those answers and I am willing to answer more questions if you believe this could be of any advantage for the very interesting and difficult work you have undertaken.

1.The words or the language as the are written or spoken, do seem play any role in the mechanism of thought. Psychical entities which seem to serve as elements in thought are certain signs more or less clear images which can voluntarily reproduced and combined.

There is of course, a curtain connection between those elements and relevant logical concepts. It is also clear that the desire to arrive finally at logically connected concepts is the emotional basis of this rather vague play with the above mentioned elements. But from a logical viewpoint, this combinatory play seems to be the essential feature in productive thought before they can be any connection with logical construction in words or any other signs which can be communicated to others.

2. The above mentioned elements are, in my case of visual and some of muscular type. Conventional words or other signs have to be sought for laboriously only in a secondary stage when the mentioned associative play is sufficiently established and can be reproduced at will.

3. According to what has been said, the play with the mentioned elements is aimed to be a analogous to certain logical connections one is searching for

4. Visual and motor. In a stage when words intervene at all, they are, in my case, purely auditive, but they interfere only in a secondary stage as already mentioned.

5. It seems to me that what you call full consciousness is limit case which can never be fully accomplished. This seems to me connected with the fact called the narrowness of consciousness (Enge des Bewusstseins).

A letter to Jacques Hadamard

Mathematics and Art

These Turkish dervish dances explain that above all things, music evokes the spirit and mathematics exemplifies its beauty. The brain is in tranced by the sequences in visual patterns which is calming. The dervish dances themselves reach an ecstatic plateau which we Trinidadians and Tobagonian experience in duration during carnival.

A simple experiment is to try to think of anything as you focus on the tempo of the music and the rotation and rate of the dancer. The mind is paralyzed

Adele's Patrimony

This body of work takes its focus from the concerns about governance. I have done work on domestic violence and violence in boys as they grow to adulthood. But what about the emotional violence that is heaped on society when leaders go astray? That question led to Patrimony.

Trinidad and Tobago is a country of great wealth. Apart from oil and gas, we are bountiful. We can grow sugar, cocoa, coffee, chocolate. We are capable of doing so much, and yet, so many people in the country have terrible water problems, issues for good, affordable housing and other basic needs.

For everyone who flashes their Porshe or House and LandRover, there is a person waiting for a red band maxi.

The Coat of Arms relate to Trinidad and Tobago as a very strong symbol, and I have been working with it for several years. Recently the artist Nicholai Noel (whom I taught) has been working with it too. It is always interesting to see another perspective of something you have focused on, coming from someone else.

For Patrimony, I look at governance. The colours of our flag, our coat of arms, traditions and the 2020 vision expressed by the prime minister. I plan to have a live coubeaux as one of my pieces. That took some serious research, and then I found someone who has a tame one as a pet.

I looked at the green, meanly small garbage cans as a work, draped in national colour bunting, and then someone put a bomb in one of those trashcans in 2005 and spooked me with my vision.

What it shows is that there are ideas out in the ether ripe for the picking.

Those bins were a symbol for me, of the lack of vision of our leaders, even to create a receptacle for its citizens on busy streets. I was very, very shaken, as most of the country was, when the bombing happened. What was happening to us! Should we have a state of emergency! That seemed to be the obvious direction we were heading to.

People were hurt. A lady lost her leg! What the hell was going on! This isn’t the home I know and love! Can art help this madness? Should I even be doing work like this now, when I feel that we are spiraling out of control as a nation? All of these these thoughts came to me. What is the purpose of art? Why this sort of work at this time?

The coubeaux stumped me. I took forever to find out how to use a live one, and again, I was shut out for a show at the museum that year. It begins to sound suspicious that I just can’t seem to get a show. But the museum and other gallery spaces have their choices. An artist working in the way that I do, isn’t selling pretty pictures, and the museum is run by the government, and would want me to tone down alot of what I planned for this show. I use the flag in my work, and that and the coat of arms have strict rules of representation.

On the one hand, over the last few years, working in my sketchbooks, showing abroad and making work elsewhere has happened by force of will. Yet, not being able to show in my own country has been deeply frustrating for me. However, I do not give up. I continue to find alternative means to work and to show.