8-colour screen print on plywood
edition of 8
30 cm × 30 cm × 3 mm printed at @sonsolesprintstudio
In The Games We Play, Ludo or Ludi, as my Jamaican family would call it, becomes more than a simple board game. It turns into a stage for Caribbean geopolitics, a reflection on strategy, and a careful dance of power. What was once a childhood pastime is reimagined as a playable artwork where Trinidad and Tobago, Venezuela, and the United States move around each other beneath the uneasy ideology of a “Zone of Peace.”
Friends of all. Satellites of none. (Errol Barrow 1967)
Kamla Persad-Bissessar, Nicolás Maduro, Donald Trump, and the lingering ghost of Henry Kissinger’s realpolitik all occupy the board. Every move carries echoes of influence, survival, and the quiet calculation of power. In the green corner, CARICOM watches, willing referee, a reluctant player, maybe even the jilted lover trying to keep the peace.
Nobody’s backyard (Maurice Bishop 1979)
Here, play turns into performance and conflict becomes choreography. Each move asks us to think about how the region navigates global turbulence. In the end, The Games We Play reminds us that peace in the Caribbean isn’t fixed or fragile, but it’s a living negotiation between power, history, and our collective imagination.