Photo by Roger Robinson
Alexander's unique stone faces.

Anthea McGibbon, Gleaner Writer

A MUSEUM is for some a state of mind, much more than a piece of real estate property.

Just before you exit the Fern Gully strip, there is a shallow, dingy cave fenced by a makeshift wooden gate under a pile of dirty, ill-coloured tarpaulin. There are no scattered leaves, just wood, stacked at the only logical entrance.

Looking up at the cave, you meet several pairs of sculpted eyes peering down at you, some marred by smoke that makes one wonder about the occupant. Soon one realises that this is the home studio of an artist.

Arthur David Alexander is not mad, and for the past 15 years, he sticks to his task of reshaping the appeal of Fern Gully.

At the end of the line of controversial wooden penises, he chisels away at the contours of the cave, slowing passers-by down with his stone and wooden sculptures and carvings.

Alexander left for England at age 17. In England, he says he attended City and Guild London School of Art, where he claims to have been exposed to other fields, including science and medicine as an art student, explaining his diet of vegetables and fish he cooks himself.

After England studies, he travelled the world, as far as Africa, as a painter and a sculptor. His short memory extends only to a few great experiences and impressive sculptures, especially in Ethiopia, which still remain with him. This is largely due to his involvement with an East African movement in 1972.

Still restless after travelling the world selling his art (landscapes and portraits) though, Alexander left his artisan wife Monica, son Donald, now 34, behind in England and returned to Jamaica approximately 22 years ago.

For only a few years he settled in a 'traditional house' in the Ocho Rios area, until the day he fell in love with the shallow cave. The shapes were the main attraction and he immediately gathered tools to dig into the combination of hanging 'soda straws' (stalactites), and hardened limestone and granite, held up by a fig tree.

Stone art influence

According to Alexander, his memories of stone art in Ethiopia and Germany influenced his decision to create new art from the beautiful cave shape.

Through his larger than life-size cave turned stone sculpture he sends his message to tourists about the skills of Jamaicans, other than in creating wooden penises.

So committed is he that he has lived in the shallow cave and reduced visits to his sister in Portmore to twice per year. Again he leaves his furniture behind to exist on basic amenities, but still maintains a bank account and keeps abreast with local and international news. Romance is in his plans, but only after he has completed his task at hand, and it's anyone's guess when that will be, as ittakes hours at a time to carve a face measuring only three inches square, especially where the stone is hard.

Alexander's preference for stone and wood sculpting outshines his abilities in metal carving and painting. Perhaps this is only due to a limitation of tools he has made himself. The sculpted images of faces canvas Alexander's experiences and training in a variety of cultures.

European traditions

Just after clearing the entrance, an Aztec American Indian guard hovers over your head. In the distant corner, there is a stark reflection of European traditions with the face of a young protruding girl with a full head of curled hair carved in traditional Greek style.

From wood, he has made masks, rods, and staffs. Interestingly, as though from a stencil, a number of his masks are carved to mirror some of the faces sculpted in the cave contour.

African heads are engraved, sculpted all over, and in some areas where the stone is softer, there are enough heads to create a pattern. The faces together reflect a standing crowd of world representatives looking out at passers-by. In a few of the faces there is a Caribbean feel as the features are crossed, for example, in the almost finished head in the corner where the lips are thick, but the eyes are only a slit.

When he is not sculpting away at the stone, Alexander busies himself with carving masks and staffs from wood. One of his staffs has a series of heads in the centre, combining into a ladder.

While only a glimpse at his handicraft is all that passers-by can get, tourists have fallen in love with his masks, which vary in price. Additionally, among his carved treasures is a reshaped piece of wood he calls 'Reindeer', which resembles two horses joined at the hip with two growing antlers protruding.

Not worth mentioning

There is only one painting - a coloured sketch of a woman done on a piece of black canvas - not worth mentioning, especially against the carved beckoning faces improved over time.

His home has stood the challenges oftime, including the weather. During floods, he makes a makeshift drain. In recent times, the occasional fear of undesirables has been dispelled by the presence of the watchful eyes of his close-knit and protective neighbours.

For some time after settling in the cave, Alexander claims he still did commissioned work for the Belgium, Canadian and United States embassies. However, with education on his mind, his attention is turned to completing the large works of the Fern Gully 'museum'.

Anthea McGibbon, a graduate of the Edna Manley College of the Visual and Performing Arts, has over 10 years' experience in the fields of journalism and the arts. Contact her atislandartattack@yahoo.co.uk or anthea.mcgibbon@gleanerjm.com.