Studying art history has become a way for me to tap into ideas about connection, hope, and creativity.”
Simone Cambridge
PhD Student in the Department of Art History
Simone Cambridge is a PhD student in the Department of Art History in the Weinberg College of Arts and Sciences. Partly inspired by her late grandmother’s writings, her recent work focuses on the history of craft and textiles in the Black Caribbean diaspora.
How would you describe your research and/or work to a non-academic audience?
My research focuses on the art history of the Black diaspora, particularly in the Caribbean. My recent work has looked at histories of craft and textile that can be traced to the period of slavery and how these practices are translated in contemporary art. I’m interested in all the ways labor, colonization, and tourism intersect in art.
What have been some of the most memorable twists and turns of your career?
One of the most memorable turns in my career was when I found lost writing from my grandmother, Thelma Cambridge, that aligned so closely with art history and my research interests. I found a book about a traditional style of weaving called strawcraft that she wrote entirely by hand in an archive by accident. She passed away when I was very young, so I got to know her through the text and learn from her a different way of thinking about art. It pointed me to the research that I continue to work on today.
What is a mistake you have learned from in your career?
A mistake I’ve learned from in my career is spreading myself too thin by trying to do too many things at once. I’ve often tried to complete multiple projects at the same time, but the reality is that your time is always limited. The best you can do is to stagger your work in a reasonable timeline, which is still an imperfect process. It’s better to say “no” when you need to than to disappoint yourself down the line.
What do you find both rewarding and challenging about your research and/or work?
It’s really rewarding to work with artists, curators, and thinkers who share my passion for Caribbean and diasporic art. I enjoy encountering all the different perspectives and subject areas. Studying art history has become a way for me to tap into ideas about connection, hope, and creativity.
What books are on your bedside table?
I love reading fiction. I’m currently reading Soft, Sweet, Plenty Rhythm by Laura Warrell that follows the complicated life of an aging jazz musician. Another book by my bedside is Crafted Kinship by Marlene Barnett, about the author’s conversations with Caribbean makers. Both have been great so far.
What did you originally want to be when you grew up?
I originally wanted to be a fashion designer when I grew up. It was my dream to make things for people that brought them joy when they put them on. Clothes were art objects to me and I loved the fantasy that I saw built around style during the height of fashion blogging in the 2010s. I still love art, just in a different way.
Tell us about a current achievement or something you're working on that excites you.
I recently curated an exhibition at the National Art Gallery of The Bahamas, called “It Comes From the Head”: A Straw Heritage.” The title of the exhibition comes from my grandmother’s writings and the show featured excerpts from her book on strawcraft. I was able to work with artists Tamika Galanis, Anina Major, Jodi Minnis, and Averia Wright, all artists I have looked up to for years. The exhibition also took place in my hometown, so my family got to attend!
Publish Date: June 3, 2025
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