US based Vibe Culture Daily was so impressed by the Black Pony Gallery booth at the SCOPE Art Show Miami, that they published the article “Lisa Howie: The Woman Bringing Caribbean Art to the World Stage”.
For Black Pony Gallery, this attention is significant, especially because SCOPE Art Show is a premier showcase for contemporary art, convening the most dynamic emerging galleries and artists from around the world for more than two decades.
At SCOPE, Black Pony Gallery presented Charles Zuill (b. 1935, Bermuda) and Jason A Bennett (b. 1974, The Bahamas), two artists from different generations challenging stereotypical ‘island imagery’ in their abstract expressions. In partnership with the FUZE Art Fair Blue Floor Project, Black Pony Gallery also presented Dede Brown (b. 1984, The Bahamas) who received a glowing review from Vibe Culture Daily too.
“The booth did very well. Sales were good, networking was epic, and new projects are unfolding! Collectors, curators, creatives and academics, were captivated by Bennett’s use of color, texture, and graphic elements, while others were intrigued by Zuill’s meditative drawings. People were generally wowed by Zuill’s age and the fact that we are from Bermuda. And there was a general love for the art book I published on Zuill’s journey. Mani Munroe’s Vibe Culture Daily article elevated our experience at SCOPE. It feels good to be acknowledged for our collective efforts,” says Lisa Howie, founding director of Black Pony Gallery.
To close the fair, Howie joined Bahamian artists and visionaries Antonius Roberts (I.C.E. Gallery) and John Cox (FUZE) for a panel conversation that echoed everything the week stood for: dialogue, visibility, collaboration, and lifting Caribbean Atlantic voices. Bermudian artist Nhuri Bashir flew in for Miami Art week and said: “Lisa’s panel at SCOPE articulated something I have been feeling with real clarity. She gave color and context to the growing and meaningful presence of artists from the Caribbean and the northern Atlantic family islands, including Bermuda and the Bahamas, and framed it as a collective wave rather than isolated success stories. She positioned our region as a serious contributor to the global art conversation, not as a trend, but as a sustained force.”
