By Sana Rose, Contributor 
'In My Solitude' mixed media.
THE PEGASUS Gallery is currently hosting an exhibition of recent works by artist Donovan Fairweather. The show marks Fairweather's seventh solo show in 16 years since he received a diploma in Ceramics at the Edna Manley College of the Visual and Performing Arts. His first solo show was staged in 1990 and it has been two years since his last.
In the present display, he continues with themes of identity and African heritage in his works adding to the mix, religion namely the Afro-Brazilian Candomblé and Christianity. Also, a visit to Brazil inspired a number of the pieces that depict the aspects of the culture of Brazil. Predominantly a ceramist who prefers to paint his pieces rather than glaze them, the artist offers us a collection of work that brings together painting and ceramics in equal proportions where painting is allowed to stand on its own in some works. While we are offered the artist's signature finish of paint over clay combined with collaged material on masks and vases and the occasional figure painting on tiles, we are also given a few miniature portraits on tiles and two larger portraits in acrylic and pastel. The miniature portraits of children are endearing images where Fairweather put some amount of effort into capturing the features.
While some improvement has been made, Fairweather continues to struggle with drawing especially that of the figure. He does show greater skill as a portraitist when the subjects are children but the flaws are still evident and become even more critical in the adult portraits, Mulher de Bahia done in pastel and the acrylic work, The Portrait. The combination of painted and clay elements in the works show greater resolve than in previous works but in pieces such as Breaking Through where the portrait is painted and is surrounded by broken clay slabs, the painted image weakens the work. The greatest clarity of this combination of painting and ceramics in the relief images can be seen in In My Solitude, where the drawing of the figure is better and the clay element fuses successfully with the rest of the piece. Fairweather's free-standing works also show improvement in the image/form relationship there is greater colour harmony and the stylised figures which encircles the vases, combine well with the simple forms.
The exhibition is more vibrant than Fairweather's previous solo show. He still utilises his black/brown colour scheme but the Brazilian experience has infused other hues in his work. Twin masks in the piece Images emerge from a background of black, green, red, yellow and blue reminiscent in design of stained glass window. While these are welcome developments, we are struck by the potential of this exhibition, which has not been fully developed.
IDENTITY ISSUES
Thematically, we sense identity issues in the literal use of the masks and mirrors and the images of the artist himself juxtaposed with snippets of African heritage and religion among the other works. He presents almost idealised images of himself but no real self-examination. This has instead been subverted by decoration.
Much of Fairweather's technical and conceptual ideas have displayed possible avenues of investigation that could lead to works that offer more challenge and interest to the viewer. The more we view the pieces, the more we are convinced that the possibilities are endless. What will the artist's next solo show yield? The exhibition continues until November 24.
