Canboulay: Freedom of Expression March Issue 4 hq | Page 23

felt were important to share with his peers. Manu- facturing fashion and cinematic stories, he created otherworldly moments with his photographs. Also boldly taking on the task of creatively directing lo- cal designer Harvey Robertson’s fashion campaign. An inclusive campaign which featured a diverse cast of models, which he felt fitting for the design- er’s aesthetic. Using his work to promote beau- ty, attitude and a strong message. Many of these visuals however, would receive mixed reviews and reactions. This of course would be exactly what he hoped to achieve. Sherwyn Williams, known by his second name Terrance has shamelessly labelled himself as simply “a visual art- ist” in hopes of summing up his many ventures. From a young age he’s shown signs of being a creative, indulging heavily in illustration, creating his own comic strips and photographing anything under the sun. While attending secondary school he developed his skill for illustration and this did not go unnoticed. He was offered a slot in the creation of a short-lived school newspaper, where he con- tributed comic strips in the entertainment section. Shortly afterwards he would be enrolled into summer vacation art classes at USC. When art and illustrations proved to not be enough, A young Terrance would use his schoolmates as photography subjects whenever given the chance. Find- ing his footing within the editorial and beauty world, op- portunities would begin to flow heavily. Working amongst some well-respected talents such as Sudesh Ramsaran, Naomi Chin-Wing, Mario Francis, Beauty Dreams by Mekelia and many others. Publications such as Caribbean POSH, the local newspapers and MACO People Barbados and others would also feature his work. Designers and online stores like Shop ITALLY would recruit the image maker for their promotional content creation. He used his photography as a way of creating narratives that he “Photography to me was the only way at the time to tell the stories in my head. A lot of the images I created were inspired by real life events or even dreams I’ve had and these moments aren’t always pretty. It also opened the door for me to be able to direct a set creatively. Naturally one of my favorite moments so far in fashion. Beauty and fashion were the vehicles that got me to the audience, the nuanc- es and expressions told the tales. I’m always excited when an image stirs up something uncomfortable, because it creates a conversation and that’s so im- portant to me.” Rallying an efficient team was nothing short of destiny, he recalls. Kambe Lovelace and Lynda De La Mothe, his schoolmates, would join Terrance on his creative escapades. Each party contribut- ing something to the experiences of creating their visual work. This partnership would prove long lasting as the group would go on to create TVISU- AL. Along with Kerby Young, they created a plat- form in which local talents would be highlighted and featured each month in a series of blog posts. TVISUAL, the brainchild of Terrance was a passion project that he saw as necessary to allow individuals a space to share and collaborate with the team. The project saw a great deal of eyes and even attracted major talents such as AJ Rogers, Mark Eastman, Omar Jarra and Digicel rising star finalist Terriann Baker. TVISUAL bulldozed it’s way social media and lips of locals but also created many opportuni- ties for networking. Most notably it’s collaboration with local iconic brand The Cloth to both shoot and feature in a campaign for their collection. “TVISUAL to me was a project that would fill ISSUE #3 DECEMBER 2018 23