Breeze Brick Font


As a graphic designer, I decided to make a font. The shapes within the block itself doubled as negative space and provided the necessary play room to build out an entire alphabet. Unique to this font, I would say are the letters: A, G, I, J and Y which are realized only through the oddly shaped shark-fin looking spaces derived from the breeze block template — a weird combination of perpendicular, diagonal and rounded edges.

As expressed by Cozier, “…these patterns represent a moment of hope and possibility (yet unfulfilled?) that we may all share.” The Breeze Brick font is one possibility I’d like to share. To view the Breeze Brick font in action and several other variations, please visit here

Kriston Chen, Trinidad

Physical Bricks / Mental Bricks

When I decided to take part in the project, it came to my mind the fact that we are surrounded by Physical Bricks and Mental Bricks.

Valerie Brathwaithe, Caracas

to invite an enlightenment….

Looking at the brick pattern you co-opted, first, I was struck with my own familiarity with the design, and I thought to myself, “how did this design cross the Atlantic”, it looked like every other pattern I knew in the East. “Could be a Moorish-Spanish connection?, or just a design driven by the pressing need to have more air flowing through during a hot tropical summer afternoon”.
To me, the design looked like a good cousin to every brick design I have seen growing up the Red Sea port of Saukin. It bears the same genes that makes most of the mosques windows, doors and mazahah in the ancient port of Suakin. During my school years, these bricks were ubiquitously present, I would stare through a classroom window that has a similar design bricks, my family would sit in verandahs during hot afternoons that are surrounded with short walls built with the same bricks.
Thinking about your invite to dialogue with the piece and while in Istanbul, I thought let’s use the design to make Chris a prayer matte using the brick design as the smallest unit of prayer- as in a Rosary’s first bead. Then, and as good Sufi would say, we repeat the design to invite an enlightenment, as elusive as that can be.

Amir Shingray 2013


Breeze Blocks I and II were inspired by Christopher Cozier’s ‘in development’ project with a public invitation to use his tropical ‘breeze block’ pattern. At the time, I wanted to combine the aesthetics of artists who had different ‘ways of working’. The negative/positive spaces of the pattern allowed that to happen. The ‘breeze block’ repeats in a row of three, vertically. In the first two blocks of each piece, a section of a Leroy Clarke and Prabhu Singh painting was ‘borrowed’ for the negative spaces giving the illusion of seeing through to somewhere else. I introduced my own image in the third block.

Camille King

April 2013

Playing with the breeze brick pattern

When I started to work with the breeze brick pattern, it opened up a new horizon for me. I realized that the breeze brick functions as a window onto other spaces and scenes behind it.
While playing with the graphic aspects of the template, I started to use it as a keyhole view to other places, situations, rooms, people, architecture and culture. My favorite is the one with the geographic map of Trinidad/Tobago and the islands. It’s a hommage to Richard Williams who introduced me to your project.

Gabriele Teichmann-Reimer, Germany

…of ideas/of goods/of people.

photo (27) photo (28)For me this project conjured up questions of migration, migration of ideas/of goods/of people. What kinds ideas are valued in the project of development in our specific Caribbean locations and broadly across the region? What bodies are positioned as ideal contributors to this project and  for what particular purpose? How does migration (internally, regionally, internationally) impact upon how we choose to execute our vision of development?
Malaika Brooks-Smith-Lowe

about connections…


The best part about this project lies between negative and positive spaces of these ventilation blocks. Your assignment asks us to associate positive and negative space to make a statement. Any statement. My Submission is about connections. And that the substantive capacity of each submission lies not in the shapes, but in the transitions between them. Neurologically a line makes a connection in your brain when one value bumps up against another. So I gave the most visual interest, contrast and saturation, to the lines between the positive and negative shapes of your pattern. With this project you’ve created a vehicle for people to ride around in for a while… very cool.

Aaron Parks