Anthea McGibbon, Gleaner Writer

The Imposter photo by Anthea Mcgibbon

Along the white sands of Negril, the lobby of Travel Beach Resorts has been transformed to provide international visitors added fulfilment with showcased works by Jamaican artists. This transformation is complementary to the large murals (by Keith Pinto) adorning the outside walls, and paintings (by W. Henry Eccleston) to be found in the 60 rooms of the resort. These murals and paintings are an open expression of the appreciation that owner Winston Wellington has for Jamaica's art and artists.

According to Wellington, the idea to exhibit artists in the resort's lobby originated from his professional relationship with artist Eccleston, combined with his later interaction with local artists. Just next door to Wellington's 38-year-old taxi, limousine and travel company, in Brooklyn, Eccleston runs an art gallery.

Local O'Level art teacher, Kirkland Clarke, sets the pace for artists to come, as he is the first of the lobby art exhibitors in Wellington's Beach Resort.

Fifty-three works by Clarke are being exposed in the current exhibition, 'Femininity Speaks', which runs until January 20.

Rather than confining to one style, Clarke demonstrates his exposure to several areas of fine art, during a brief course at the Edna Manley College of the Visual and Performing Arts, while studying teaching at Mico College.

The range of medium comprises etching, pen and ink, linocut (printing technique), drawings (pastel, pen and ink, charcoal, conte crayons) and paintings (oil, acrylic, watercolour, gouache). Equally, there is a wide range of technique and style in the works, which together reflect the stages in the development of the artist.

This all-too-wide a variety almost weakens what could have been the strength of the show. On the other hand, this sense of liberation exposes the spontaneous character of the artist. Clarke's many messages and detailed analysis of Jamaica's women almost go unnoticed by the distant and poor arrangement of the pieces. Nonetheless, they are strong.

useful tours

On the day that theSunday Gleaner team visited, guests and visitors were not immediately magnetised and seemed unaware that an exhibition was in progress. Fortunately, both artist and his wife were present to provide useful tours, while themselves learning the art of exhibiting in the absence of a curator and/or public relations officer.

All the works attempt to illustrate the varying passions of Jamaica's women.

The artist identifies "without a doubt" post-Impressionst master Vincent Van Gogh as his favourite painter, but uses fast drying acrylics in most of his works.

The thick impasto application of acrylic in most of the works attempts to copy the thick application of oil during the post-Impressionist era, and creates an illusion that oil was used. Like other Jamaican male artists, Clarke shows his fascination for big females as the legs and buttocks of most are grossly exaggerated, sometimes not showing the presence of a bone structure, as in 'Sweet Dreams'.

'The Imposter', '100% Gossip', 'The Long Walk Home', 'Musical Lady' (abstract) and 'Relationships' were particularly strong in technique and accomplished the overall objective of the show.

'The Imposter', done in watercolour, excelled beyond aesthetic values, evaluating the hyprocrisy of some Jamaican women. There is a woman standing on her balcony in a laid-back, seductive pose. Her mermaid fin gently falls to reveal her skimpily-clad body, as she pretends to be studious, wearing a pair of glasses, evidently not prescribed, and, in her hands is an open book she is not reading. The brush strokes are precise, demonstrating the careful thought and attention to detail engaging the artist's mind.

100% Gossip

'100% Gossip' cleverly depicts three Jamaican women in mid-afternoon gossip. Two women hang out clothes while engrossed in community updates, while a third woman only seems hesitant to contribute. Her posture, though, is telling that she will not resist much longer.

'The Long Walk Home' depicts an elderly woman winding down in reflection after an almost never-ending journey, on a typical country road. This piece, along with the abstract 'Melodious Woman', and a few sketches are the only ones showing Clarke's loyalty to his influence of the post-Impressionist era in technique only.

relationships

Clarke's black and white pieces are all strong and are a clear indication that the artist understands the techniques used, but in 'The Proud Farmer' (charcoal on canvas) more attention to proportion detail is needed. The linocuts are particularly clean with sharp edges, but it is the images themselves which are telling of the depth of thought behind the works. Jamaican relationships are explored.

In the black and white print 'Struggle', a masked man is fitted among three women, commenting on his rotation of women, who remain clueless as to who he really is.

In the etched abstract 'Relationships', Clarke expresses the mind of a couple whose independence and growth have been restricted by their relationship.

The piece forces the eye to view from right to left. In the right top corner there is a huge black space of nothingness. In the right centre, a female stares downwards towards a miniature door in the left corner. The door is screwed shut from the outside. Ironically, there is a partially hidden female staring at the couple with much envy.

sexual drive

Pieces such as 'Pure Passion', 'Jamaican Rhythm' , 'The Naked Truth' deal with the sexual drive of Jamaica's women.

The inner strength of women is explored in 'The Proud Farmer', an ageing woman confidently carrying a hand of banana on her head. In 'The Urge' a teenaged girl reaches for a fruit growing high up in the tree. She, too, is not afraid and demonstrates the dare of Jamaica's females to face ongoing and fierce challenges.

Clarke brings out the reserved nature of Jamaica's women in pieces such as 'Nature's Call'. In 'Claim to Fame' he attempts to stir Jamaican women into promoting their beauty which is often shunned or disdained by Pulse Modelling Agency.

His emphasis on the curves of Caribbean women is uncanny in a few pieces, such as the two of his wife.

Miniature prints of the displayed works are a highlight of the continued exhibition.

Other themes narrated include motherhood, family relationships, and school year experiences.

From 'Innocence' to 'Golden Lady', Clarke illustrates the volumes at which Jamaican 'Femininity Speaks.'

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