Llanor Alleyne is a Barbados-born New York-raised mixed media artist currently living in St. Michael, Barbados. Exploring the transformation and transfiguration of female selfhood through the use of paint and photography, her work breaks away from the conventional demands of modern collage-making by using originally created abstract paintings on various materials, including mylar and paper, to examine female figurative presentation and the empathetic rapport women are often assumed to have with the natural world.

In 2016, Llanor's work was featured  in the group show, Quaternary at Gallerie NuEdge in St. James, Barbados, from July 2, 2016 to September 2. Her first solo show,  Written in the Body, was mounted at the Frame & Art Co., in Jackson, Barbados, in October 2016. 


2017 PRIZM Art Fair, Universal Belonging Group Show, Miami, FL.
2017 Carifesta XIII, Expressions Group Show, Barbados
2017 MoCADA Museum, My Collection Group Show & Auction, Brooklyn, NY
2016 Written in Body, Solo Exhibition, Frame & Art Co., Barbados
2016 Quaternary, Group Show, Gallerie NuEdge, Barbados
2012 10 Squared: 100 Ways of Looking at the World, LeRoy Neiman Art Center, New York, NY
2012 Living Color, Casa Frela Gallery, New York, NY


2017 Fairmont Royal Pavillion, Barbados
2016 IDA Publishing Brand Logo
2013 Rashida & Zaria Book Cover by Esther Alix
2011 Marie Jean & Friends large-scale collage for Private Collection


2018 Vanitas with Ronald Williams at Morningside Gallery, Barbados (Upcoming)
2017 The Guard: An Intervention at the Barbados Museum and Historical Society with Nyugen Smith
2016 Encloth Cognition (Kimono pattern design) with Mark King and Noir Near Future

Artist Statement

Llanor Alleyne’s collages and illustrations explore metaphorical and physical inversion, often employing tearing, cutting, and layering of abstract, figurative, and floral shapes to interrogate empathetic feminine connections to nature while alluding to emotional disruptions that teem just beyond a first or second glance. Influenced by her surroundings as well as imagined landscapes, Llanor creates abstract paintings and drawings on mylar and paper that are the basis of her collages. The lines, colors, and curves of these impermanent abstract “first works” are the vernacular of her recent work—structuring figurative silhouettes and dictating their final emergence as whole, often lone female depictions, while sharing “first work” DNA across several portraits.