The National Art Gallery of The Bahamas is proud to present Resurgent, Kermit Miller’s solo debut of artwork that captures the movement and expression of Junkanoo and Bahamian daily life.  With an astute depiction of each subject’s emotion, Miller’s practice is a snapshot of the colorful ways Bahamian people express their joy and relate to one another.  Miller’s use of various junkanoo subjects is a clever way of portraying these heightened emotions; for instance, in Junkanoo Roar (2023), Miller depicts a rusher mid-scream, capturing the familiar extasy that locals feel when experiencing the parade firsthand.  Miller’s practice is also inspired by Bahamian master artist Brent Malone, who also depicted Junkanoo rushers throughout his career. Like Malone, Miller’s focus on brushwork and technique is very important to his practice, especially because he is re-entering the field after a 22-year hiatus.   This small exhibition is a display of Miller’s first experiments after getting back into the practice of painting.  Miller’s practice resurged after the death of his daughter, Ebony Miller, whom he artistically mentored. For 22 years, he eschewed his own artistic career in favor of nurturing her talent.  Now that she has passed, practicing art helps him feel closer to his daughter again, and as he relearns the medium, Miller’s focus on technique and expression is appropriate for an emerging artist in the genre.  This exhibition is curated by Richardo Barrett, Exhibitions & Collections Care Associate, and Letitia Pratt, Associate Curator. 

"SUMMER SUMMER is a group exhibition focused on abstract figuration within three distinctive Caribbean practices. The exhibiting artists are Leonardo Benzant (Dominican-American), Ronald Cyrille (Guadeloupe), and Steven Schmid (The Bahamas). SUMMER SUMMER focuses on the artists’ unfettered yet encompassed figurative approach in their respective mediums." -Press Release Excerpt

Leasho Johnson's 'An Unmistakable Softness' showcases a series of paintings developed during his residency at NINE, a private studio complex in Chippingham, Nassau. Transitioning his practice from Chicago to the Bahamas, Johnson experimented with his process-oriented approach in response to the tropical climate. Utilizing homemade paints, pigments, and textures, this body of work examines how environmental factors influence artistic creation. The exhibition features pieces from his ongoing "Anansi" and portrait series, maintaining his signature aesthetics while integrating observations of the Bahamian landscape. Johnson's work delves into themes of identity within the post-colonial context, informed by his experiences as a Black, gay man. His dynamic compositions balance fluidity and chance with precision and improvisation, offering a nuanced perspective on cultural narratives.

"To Scatter Seeds" brings together the artistic visions of Cydne Jasmin Coleby, Kachelle Knowles, and Jodi Minnis, each exploring the multifaceted concepts of heritage and identity within the Bahamian context.​ Cydne Jasmin Coleby's contributions focus on family dynamics, interpreting "seeds" as children through the lens of childhood imagery. Her works incorporate elements of the home, including colonial iconography, overgrown plants, and vintage family portraits. Through graphic collages, Coleby examines personal and ancestral relationships to trauma and conditioning, offering a reflective narrative on familial ties.​ Kachelle Knowles investigates intergenerational fashion, particularly among Millennial and Generation Z schoolboys. Her detailed graphite works portray Black men and boys with sensitivity, highlighting the coexistence of masculine and feminine traits. Knowles' art suggests that the "scattering of seeds" represents the evolution of fashion across generations, where each builds upon or reinterprets the styles of the previous.​ Jodi Minnis explores the concept of "scatter" in relation to the diaspora, interpreting "seeds" as symbols of children and heritage. Her work involves the intentional breaking and reassembling of Bahama Mama salt shakers into forms resembling islands and continents. This process reflects on the fragmentation and reconstitution inherent in diasporic experiences, critically examining traditional representations of Bahamian women.​