Anthea McGibbon, Gleaner Writer

Milton George's 'Princess' and 'Tough Head'. - photos by Anthea McGibbon

Milton George, known on canvas as MLTON, who for a long time, especially during the 1980s-90s, impressed with his intuitive style is back with a show titled 'Red Then Jump Over', opened recently at the Mutual Gallery.

George, who did art to A'Level, had a short flirt with conventional techniques at the Edna Manley College of the Visual and Performing Arts, then Jamaica School of Art. However, he soon after abandoned traditional strokes to settle down with his own expressionist style and techniques, for which he is popularly known for in today's contemporary art world.

In a 1993 interview with the artist who has exhibited extensively worldwide, art historian Veerle Poupeye quotes George as commenting, "All my paintings are self-portraits." On Thursday evening, however, the man who has been missing from local public action told The Sunday Gleaner that the present works represent his observations of those around him. In his work, he says he brings out 'our African culture'.

Guest speaker for the evening, Spanish Ambassador Jesús Silva was enamoured with the works. Having decided that in Jamaica 'all artists are intuitive', the ambassador opined that George "is very expressive"in works reflecting the strong culture of Jamaica. The ambassador has as one of his priorities to ensure a fair exchange of cultures especially through the art of both Jamaican and Spanish artists. Upon his advise, the newly built Spanish hotels are already considering putting Jamaican art in the hotels to be exhibited and sold to tourists.

Plans underfoot

At the Baha Princpe, for example, plans are already underfoot to allow local artists their fair space. The General Manager, Geert Debruyne, attests to this as owner Pablo Piero is an art collector with a serious passion for art himself.

Sara Silva de la Lastra, wife of the ambassador, also appreciated the display and said she "loved it as much as similar works by Spanish artists in her country.

Annabella Proudlock, travelling from St. Ann whisked up an "I always love his work" reply, said she managed to fetch a piece for herself. Still, the greater excitement was in staring at the works which changed viewer moods like a kaleidoscope. Viewers milled around pieces and tuned into the straightforward messages, more than general admiration for the works.

Unlike other exhibitions, releasing high energy or exuding colour harmony, the mostly red toned works put viewers in the many moods which George himself spent time during his 15-year-rest capturing.

In most of the works, there lay a strong undertone of sexual pleasures, reflecting George's coming to terms with man as a sexual being, and as he pointed out an exploration of 'our African culture'.

'Figures', 'Moments', 'Kiss' 'Early Morning' are among the stronger in this focus, with an elaboration on the sexual organs coming to life. In 'Bathers' the three chocolate coloured nude figures, after a dip in the country river, put against set colours and shapes, summarises the strength of George's expressionist style.

He is not too keen on detailing individual elements of his subjects, but wonderfully uses colour, mostly red tones, hints of blue here and there in his poetic analysis of his interpretations of life.

The dominance of red arises from George's lifelong fascination with its strength in hue, and his numerous trips to Cuba for inspiration.

All the works are strong, and can be loved for varying reasons common in moods created.

The vibrancy of the fish, life of nature, the dominance of man and how we communicate are told in his oils on canvasses and water-colours. Examples of these are 'Looking at the Fish', 'Communication' and 'Prophet'. However, equally related are the characteristics and hobbies of the Jamaican in works such as 'Tuff Head' and 'Tennis Player'.

Having canvassed his observations, George adds more than red tones in perhaps the most dominant piece in the show overall titled 'Save the World', a true depiction of the prophetic nature George has been said to have. One locked-hair head superimposed by three pairs of eyes is illustrated in the Rastafarian colours - red, green, and gold. While this symbolises power of man and urges a sense of expectancy through colour vibrance, 'Princess' which is more subdued in colour hues, also is expressive of power and authority of femininity.

In his simple way, George has abstracted cultural images he has collected in his mind over time and now releases them freely on canvas with vivid colour. This first show which returns George to the public scene highly expressive is more a teaser. Overall, the works seem two degree reserved from his usual bold explorations and prods us to expect more from his next showing ... from his moods.