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Alyce Cameron dismantles misrepresentations of afro-Guyanese through self-portraiture
(Kaieteur News) – Driven by a deep curiosity about culture and identity, Alyce Cameron combines a variety of techniques, materials and symbols to produce textured, expressive paintings that embody her introspective spirit and cultural background.
“As a mixed-media artist, I delve into the depths of my afro-Guyanese roots while exploring the emotional and social landscapes that influence our experiences. Drawing from my training at the E.R. Burrowes School of Art, and a lifelong enthusiasm for artistic expression, I view art as not just a means of communication but also a process of inquiry, reflection, and healing.”
Alyce Cameron
Cameron uses her work to confront the stigmatisation and misrepresentation of African traditions, while at the same time seizing the opportunity to uplift and empower afro-Guyanese communities by narrating their stories with sincerity and respect.
“I explore themes of ancestral memory, the sacred, resilience, and the intricate realities of contemporary life. My approach is based on a dedication to counteract the stigmatisation and misrepresentation of African traditions—restoring honour, respect, and depth to narratives that have frequently been distorted or disregarded.”
Except God, 2025. Mixed media painting on canvas, 20 x 27.5 inches
Heavily influenced by various aspects of the Asante culture (of modern-day Ghana), Cameron is keenly interested in if and how those aspects are reflected in not only her own lived experiences but also the broader Guyanese culture and fashion, in particular. Her use of bold colours, strong lines and richly textured surfaces, as well as her incorporation of mixed media elements all point to an artist who has committed years to steadfastly developing a deeply personal and intentional creative practice.
“Each piece serves as an invocation—an act of honouring, a reclamation of space, and a call to acknowledge the transformative potential of cultural authenticity,” says Cameron of her process.
Genesis, 2021. Acrylic paint on canvas, 16 x 24 inches
She uses self-portraiture to communicate her own emotional states of being, but more importantly, to signal ideas of grandeur and elevation. Cameron wields her likeness to assert her sense of self-worth, in an attempt to reclaim her identity, rather than accept imposed ideas of how she is viewed by the world. She is quite clear on establishing this herself, on her own terms, and without any outside interference or influence. Contrary to the quiet and mild-mannered demeanor she presents, her studio work offers a sneak peek of a fiery and expressive persona that is not always obvious at the first or second or even third encounter.
Much like the 15th century German Painter Albrecht Dürer, who is said to be the first known artist in European art history to repeatedly dedicate entire canvases to his own face, Cameron is unapologetic in her approach. She does not hide herself within larger group scenes, nor does she paint subtle or obscure hints of her likeness, as other painters of that period or earlier might have opted to do. Instead, Cameron utilises this method of “self-insertion” as a way of boldly rewriting the narrative in a discipline often fraught with misrepresentation, and even non-representation in some cases, of persons like herself. It is her hope that by doing so, a much better collective sense of self-worth would resonate across afro-Guyanese communities.
Ade, 2022. Mixed media painting on canvas, 16 x 20 inches
“[…] each new project feels like a step forward on a spiritual journey. I believe that art is a divine and expressive force with the ability to inspire change, cultivate understanding, and alter the world in ways that mere words cannot. Through my work, I aim to create pieces that resonate, heal, and encourage viewers to look deeper—into culture, into humanity, and into themselves.”
The Creator, 2024. Acrylic paint on canvas, 18 x 36 inches
Cameron has exhibited extensively in Guyana and across the region, including countries such as Barbados and Suriname. She is currently the Painting and Leather Art instructor at the E.R. Burrowes School of Art, where she has been teaching since 2020. She is, at present, pursuing a second Bachelor’s degree (the first being at the University of Guyana and the second at the art school), and is scheduled to graduate in September 2026.
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