Photos by Anthea McGibbon
LEFT: Jonathan Routh's second of six panels, which metaphorically narrate the history of Harmony Hall. RIGHT: Gene Pearson's 'Looking Up' is reminiscent of Nubian art, yet featuring the disctinct attributes of the black woman.

Anthea McGibbon, Gleaner Writer

Leaving Kingston behind, a trip to the north provides more than relief from the city's daily bustle. Against the scenic background of the coast, fine art and craft can be viewed and collected for the lingering memory of a harmonious experience. From Harmony Hall, the ambience of Toscanini, the modest studio of Jag Mehta, to ceramist David Pinto's estate studio, there is much to compensate for the wilds of Kingston.

After 25 years, Harmony Hall recently celebrated with an exhibition of works by its stalwart supporters, especially since the initial five years of the gallery's existence.

Additionally, recognitions were made to great artists, such as Mallica 'Kapo' Reynolds and virtuouso impressionist, Albert Huie.

Special mention was made of Graham Davis, who assisted the Proudlocks in the restoration of the Victorian great house.

Two workers, Merna and Roy, were awarded for 25 years of service, and tributes given to other supporters, such as the late legendary journalist, Morris Cargill, and the late Perry Henzell for his contribution to Jamaica's film industry.

Evidenced by the main celebratory exhibition and complementing rooms, Annabella Proudlock is one curator, who has gone further than selling art. Coming from a family of craftspersons, she herself is an artisan working with found objects such as seashells to creating sought-after works of beauty. Her boxes are already famous, but her pastel collages are an indelible signature of her personality.

The Proudlocks, Peter and Annabella, have realised a dream haven for artists, artisans and buyers alike on the transformed estate (a Victorian great house) which also houses Toscanini, ideal for conversation, romance and an exquisite sampling of Jamaican-Italian culinary arts by the Ricci siblings.

The gallery owners are a model of curatorship as they combine their intimate knowledge of commercial business, art and craft in promoting Jamaican talent.

According to Annabella, the artists have all developed in their technique and explorations. On exhibition were excellent works by Cecil Cooper, PJ Stewart, George Rodney, Laura Facey, Christopher Gonzalez, Mazola, Graham Davis, David Pinto, Jag Mehta, Lisa Remeny, Jonna Brasch and Dr. David Boxer whose 'The Violin' is one of three inspiring mixed media on collage pieces.

Narration of history

In honour of the gallery's existence, crafty English comedian, Jonathan Routh, did a metaphoric narration of its history in his acrylic illustrations. There is a 'chineyman', who experience turbulence in his travels throughout Caribbean islands in his quest to find his treasured home in Jamaica.

Having withstood the untimely occurrences including a stampede by elephants, he then settles somewhere on the north coast, where he eventually finds harmony. The estate, however, is soon sold to the Proudlocks, who keep history alive through the ongoing sale of art and craft by Jamaicans.

Gene Pearson's ceramic sculptures liberally invite the viewers into the mind of the artist as he flirts with form to speak of his love for African woman and reminisces on Nubian art.

It is clear that ceramics were more than a craft to achieve an end, being the end itself in these aesthetically sculptured pieces highlighting the strong attributes of the black woman.

After a visual feast of Harmony Hall treasures, it was a gastronomic delight at Toscanini's, located downstairs of the restored estate.

Then it was off to Jag Mehta, a ceramist who resides in a tranquil apartment on the north coast. It is of little wonder that Mehta's ceramic pieces are simple, with no great defined style.

The abstract works are a reflection of the unassuming potter, himself, who creates masterpieces from his modest St. Ann home. Mehta claims not to have any defined subject or message of focus. However, the artist seems to provoke a sense of meditation with his works currently on display at the Mutual Life Gallery.

Not functional

Mehta's works reach out in a spiritual way, and are not functional. The weirder his pieces, the stronger, as he gets more liberated in his abstract design. His works, all unammed, evidence his knowledge of the coil construction technique he learned in Puerto Rico.

Senator Oswald Harding, who gave the hotelier-turned-ceramist his first ceramic piece (by Cecil Baugh) was guest speake. He described the artist as "experimental", embracing non-functional contemporary concepts.

The ceramist, he noted, was developing with more exploration of colour and a reminder of Puerto Ricans, Jaime Suares and Suzana Espinosa.

Just five miles from Falmouth, in his studio at the Good Hope Estate, ceramist, David Pinto, last Saturday spoilt visitors with an open day and picnic.

This time, the artist, whose works reflect an advancement of his training in the United States and Japan, was reserved and relaxed, allowing his students and assistants to conduct the demonstrations.

On entering the quiet retreat, your mind is immediately snatched from the realities of the outside civilisation, by the activities in the midst of practically nowhere.

Adults and children were intensely attentive to lessons on ceramic material and techniques. From molding at the potter's wheel, and the use of the five kilns, including the unique anagamma style wooden kiln, crossdraft soda kiln, down draft gas reduction kiln and two electric kilns to glazing techniques.

Outside, the rooms were complemented by an exhibition of Pinto's work, demonstrating his technical and aesthetic skills. The one-of-a-kind pieces of the Jamaican Jew are done with effusive energy and mind-boggling creativity, as he keeps separate form and function.

Pinto claims to have explored all if not most areas of pottery. The natural glazes and soda kilns are the perfect complement to his manipulation of clay.

Works, such as 'Yielding', leads the mind into undeniable questions on his fascination with the Negro woman, but it is in his piece 'Fertility Pod' that his explorations are revealed in his design.

His aesthetic pieces combine rhythm and form in his apparent interpretation of romance. His developed unique style is not harsh and with his substitution of coils with flat strips in coil construction technique the seriousness of his work is made manifest.

A range of functional pottery such as cups was for sale on and location, and an added feature were the 10 pieces by artisan blacksmith, Frank May, strategically placed as a part of the setting. The creative mosquito coil was perhaps the most impacting as it did well in holding strong defence against threatening mosquitoes.

The back-and-forth journey between form, function and aesthetics is the driving force behind artisan blacksmith, Frank May, in his work with metal. His 10 pieces are just a tease of the control he has over metal.

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