Anthea Mcgibbon Photos
LEFT: David Boxer's 'Chorus of Souls' — Postscript Studies — 'Diaspora' at the National Gallery's biennial exhibition. RIGHT: Marisa Willoughby's 'Green Portrait' at the 'Landscapes of She' exhibition hosted at 128 Galleries.Anthea McGibbon, Gleaner Writer
THE FIRST week in December provided more than candies for Christmas with the opening of at least two exhibitions of fine art.
On the first day of the month of gifts, 11 female Jamaican artists, in particular those residing abroad, were given a chance to showcase their work at 128 Galleries, Old Hope Road. The long-awaited biennial by the National Gallery proved historic by the large crowd, which teemed the main areas of its exhibiting space.
Like fine wine after a hearty meal, the displays at the Jewish Heritage Centre synagogue, is savoury as Ainsley Henriques continues to treat visitors to a taste of rich Jewish history and culture. The three, collectively, are a delightful offering of fine art, but from varying perspectives.
The overriding objective of the National Gallery's biennial is according to curator, Dr. Jonathon Greenland, "to show the best of Jamaican contemporary art in all its depth and variety."
On Sunday, December 3, the Gallery came alive and was transformed to demonstrate a myriad of ideas through the 178 works by 96 exhibitors. The fundamental relationship between the exhibiting artists was the explored representations of the shared sensibilities to the Jamaican experiences.
Scores of Jamaicans were able to feast on a variety of works, done by intuitives and academics at all levels in a variety of media. The commonly used scandal bag took on new meaning in the 'Untitled' work by art student, Camille Chedda.
Broadening the base of art
In the words of The Most Honourable Edward Seaga, O.N., P.C., who was guest speaker, there is need to "broaden the base of participation from all classes." He was speaking in his capacity as Fellow of the Institute of Jamaica and Distinguished Fellow of the University of the West Indies.
Under the theme, 'Broadening the Base of Art', Mr. Seaga spoke passionately on the need for reducing exclusivity (real or imaginary), thus opening the door to new talent and perspectives.
However, he expressed particular concern on the need to encourage Jamaican artists to "respond to their distinctively Jamaican lives" in competing on the international stage, as the musicians do.
"There is little uniqueness about Jamaican art that will lead a Jamaican style to be identified," noted Jamaica's former Prime Minster, who further reiterated that conformity was not essential. In the quest for a distinct identity for 'Jamaican art' as Haitian, Mexican and Chinese counterparts, Mr. Seaga encouraged Jamaican artists to capitalise on common experiences unique to Jamaicans. This he said could lead to similar styles of expression.
Prized 'Kapo' collection
As expected, he spent some time gloating over his prized 'Kapo' collection, reflecting staunch support for intuitives and Jamaican folk form. He remembers advising Mallaci 'Kapo' Reynolds not to attend art school. However, this was only from fear that the distinctive unique style of the intuitive artist would have been compromised.
After a brief history of the Gallery and its locations including Devon House, he gave quick recognition to the swarming crowd, a clear indication that a new home was needed for the over 1,500 collected art gems. Although shying away from identifying favourites, Mr. Seaga offered congratulations to Musgrave medallists, Margaret Chen and Laura Facey.
Photographer, Renee Cox, visiting from New York, where she has spent most of her life, copped the award for the best exhibitor overall giving new dimension to the exhibition. As a Jamaican, the faced challenges of the black female in the U.S.A. seemed a natural and driving force behind the artist herself becoming immersed into the lifestyle of Jamaica's only heroine, Nanny.
In this dynamic pictorial autobiography of Nanny, the artist who is not new in portraying her own body in her work is dressed and photographed as the deceased chief of the Maroons. The superb work displays strength, as she relives and relates the determination and passion of Queen Nanny in overcoming adversities - a fitting display for the National Gallery.
The remaining displayed works offered commentary on various aspects of lifestyles and cultures admired, studied or experienced by Jamaicans.
'Wat a Hanky Panky' by sculptor Christopher Irons, 'Copperas Blue' and 'Copperas Green' by Karl 'Jerry' Craig 'Encryption Diaries' by Petrona Morrison, David Boxer's Chorus of Souls - Postscript Studies - 'Diaspora', and 'Pragmatic' by ceramist David Pinto, were a few arresting pieces. 'Off the Beast of Burden' by Lawrence Graham-Brown was one piece cleverly exploring sexual preferences by Jamaican men. '33 1/2 Year Story of Christ' was intuitively depicted by Albert Artwell.
'Self Portrait of the Artist' was a welcomed metaphor of the artist, Paul Stoppi, himself who works with digital images.
The banana leaf was a common icon, and was magnificently featured in 'Crucifixion' by Laura Facey, 'Aged Beauty' by Howard Moo Young, and 'The Covered Nude' by Franz Marzouca.
Two known pieces of Alexander Cooper caught attention at the exhibition's entrance. Narrating Jamaican masters, Barrington Watson and the late Edna Manley in studio, they made the viewers feel a part of the works-in-progress.
One could almost get lost in the jazz of legendary saxaphonist, Charlie Parker, looking at 'Bird Lives (Ormithology 2)' by Mike Stanley, lecturer at the Caribbean School of Architecture, UTech.
Jamaica's motto 'Out of many, one people' was well reflected throughout the exhibition reflecting influences by other cultures. Examples of this were the video installations by Michelle Eistrup, and 'Madonna of the Chakras' by Juliet Thorburn.
Overall, the strength of the show was the variety of artists and the channels of explorations in media and subjects, that aside from teasing the palette of viewers, also gave expression to the many unheard voices of Jamaicans who shared similar experiences.
Examples of the exploration of varying media was 'Destination Uncertainty' by Paula Daley in the ceramics room. A further exploration and development of these strengths until a climax of a proper product of the Jamaican visual arts can be achieved, and without losing the individual independence of the artists themselves is now expected.
The Jamaica biennial, unlike many biennials, is a combination of juried entries and invited artists and ends in May 2007.
At 128 Old Hope Road, the objective of the exhibition 'Landscapes of She' as explained by curator, Susan Fredricks, was achieved through the six painters, three ceramicists, one wood sculptor and one jeweller. Rather than actual landscapes the 11 artists probed the features and attributes of women.
The works of Marisa Willoughby-Holland, visiting from the U.K., were all sold out by the show's opening. Perhaps owing to her illustrated autobiography, rendered in a dreamlike expression or the intricate detail and vibrancy of colours of the pieces. Either way, the artist is unique in already developing a style of her own, which one day might be followed. Marisa uses acrylic to render her work on canvas already rolled with oil. Her works although seeming to have some influence of Colin Garland, reflects her admitted admiration for the Mexican painter Frida Kahlo's self-surreal portraits. Marisa's work however is less intense and uses more green. Her pieces define a flirtation with graphic techniques, as she emphasises motherhood, fertility, marriage and guardianship for example in 'Green Portrait' and 'The Lighthouse'.
Jasmin Thomas-Girvan's crafted treasures were also snatched by early buyers with a taste for big jewellery. Her unique pieces revealed her training in jewellery and textiles.
PJ Stewart's nontraditional use of collage and mixed media on paper was well executed as was the overall show, and was a cunning expression of pieces of her life. Other artists giving life to the walls of 128 Galleries were Amanda Saulter-Hamilton, Deborah Caroll Anzinger, Roberta Stoddart and Andrea Haynes-Peart. Ceramicists were Margaret McGhie, Althea Facey, Leonie McKoy, and the only wood sculptor was Janette Eyles. Author, Dr. Carolyn Cooper was guest speaker.
The Jewish Synagogue once again come to the fore of the Jamaican religious experience. This time, however, the permanently installed exhibition in its halls is a celebration of the 350-year existence of Jamaican Jews.
Aside from displayed artworks by Jamaican Jews - David Pinto (ceramist), Anna Henriques (painter), Rudolph 'Dossi' Henriques (architect), Belia Sario (painter) - Jewish lifestyle and culture, is chronicled. Although not an exact walk through Jerusalem, one can easily relate to the origin of these Messianic people by the showcased symbols, dress, rituals in the main room of the Heritage Centre.
On entrance, refined furniture, uniquely crafted by Jamaican Jews is being exhibited. In another room, large poster boards provides information on the contributions of Jamaica hallmarking their significance to the country. This include architecture, industry and commerce, theatre, literary works, photography, while in another room a detailed family tree complements the exhibition. Also telling of support for Jews were the plaques donated by and to non-Jews.
Anthea McGibbon, a graduate of the Edna Manley College of the Visual and Performing Arts has over 10 years experience in the fields of visual arts and journalism. Contact her at islandartattack@yahoo.co.uk or anthea.mcgibbon@gleanerjm.com.
