441 Artist Talk | July 3, 5:30 – 7pm

Join us for an artist talk with the artists of 441: Jordan Carey, OYANGO, Nadiyah Brown, and Chyna Talbot.

Hear from the artists themselves about their works in the show, their practice and more, on Thursday, July 3 from 5:30 – 7 pm in the Rick Faries Gallery.

Members FREE
Non-Members $10

Jordan Carey (@yung_sensitive) is a Bermudian designer and artist whose work focuses on marginalization and mundanity’s capacity to build more intentional relationships to craft and commerce. In January 2020, Carey launched Loquat (@loquatshop), an independent fashion and accessories brand focused on empowering marginalized people. The Loquat flagship store and manufacturing space opened in May 2022 in Portland’s Old Port. This was followed, in 2025, by Loquat’s second location in the city of Hamilton, Bermuda. Carey’s individual practice combines traditional Bermuda kite-making, paper-making, and natural dyeing to create narrative kite frames with collage and charcoal. His approach to sourcing, manufacturing, collaboration, and ephemerality in Loquat and kite-making coagulates into larger critiques of extractive relationships within colonial capitalism.

Nadiyah Brown (@eboniseas) is a Bermudian photographer based in Mississauga, Ontario. Her practice utilizes photography and mixed media to explore themes of nostalgia, joy, and identity within the Black lived experience of Bermuda and the Caribbean. Rooted in personal and cultural memory, her work functions as a visual archive that preserves stories reflecting her heritage and contribute to ongoing conversations about history, belonging, and the evolving nature of the diaspora.

OYANGO is a collaboration between creative and life partners Liana (@liana.nanang) and Ajala Nanang Omodele (@childofsango). OYANGO are jalalu – Memory Keepers – and their work honours their Ancestors and the power of their Orishas, Oya and Sango. OYANGO’s art centres Blackness and the revolutionary power of Black love and resistance. Incorporating their passion for Bermuda’s history, OYANGO channels their reverence for the sacrifices of those who came before them into visual art that pays homage to their storytelling forebears.

Together, Liana and Ajala founded Unchained on the Rock, a platform focused on Black liberation in Bermuda and beyond, and have been interviewed by Forbes. OYANGO has displayed their work in “Whayasayin” (2023) at the Bermuda Society of Arts.

Ajala is a poet, author and educator who has authored several books for young readers: Dame Lois: The People’s Advocate, They Called Him ‘Roose’: Pauulu Kamarakafego and the Making of a Bermudian Revolutionary and Look for Me in the Whirlwind: A Story of Marcus Garvey. Later this year, he will publish To Be Free Is Very Sweet: Sally Bassett, Mary Prince & the True Story of Slavery in Bermuda. Ajala’s poetry has been published in Moko: Caribbean Arts and Letters and was selected for the 2022 Bermuda National Gallery Biennial.

Liana is multidisciplinary artist who won Use of Materials in the 2021 Charman Prize at Masterworks Museum of Bermuda Art. Her poetry and visual art were selected for the 2022 Bermuda National Gallery Biennial. She has also displayed work in ‘Taking Shape’ (2022) and the Charman Prize (2019) at Masterworks and ‘Exhibition on Emancipation’ (2020) and ‘Bredrin’ (2022) at the Bermuda Society of Arts. She won Best Columnist in the 2017 Best of Bermuda Awards and her photography and writing have featured in The New York Times.

Chyna Talbot (@chyna.mp3) works primarily with charcoal, drawn to its raw, expressive quality and its ability to hold both darkness and light within a single stroke. Recently, her practice is rooted in personal history and collective memory, with a particular focus on the injustices surrounding the Tuckers Town land acquisition in the 1920’s; a traumatic event that displaced her own family just over a century ago. Through her work, she aims to give voice to this chapter of Bermudian history and explore the lingering effects it has had on identity, belonging, and generational memory.

For Chyna, charcoal is not just a material; it is a metaphor. The messiness of the medium reflects the chaos of loss and erasure, but it also offers the possibility of transformation. Her process often begins in disorder and gradually moves toward something beautiful and whole, echoing the journey of healing and reclaiming space through art.

Early childhood spent in the Philippines is when Chyna first discovered her artistic passion, but the true turning point in her artistic journey came in recent years when she discovered the cathartic power of charcoal. It allows her to process complex emotions and connect deeply with her own story, while also inviting others to reflect on the stories that shape them.

In creating these works, she hopes to not only preserve memory but also provoke dialogue about land, legacy, and the quiet resilience of the Bermudian people.