Anthea McGibbon, Gleaner Writer 
'Mento Yard 1'
RICHARD BLACKFORD recently came clean about his passions. Sure enough there are those who have come to accept him as being an astute businessman and a focused cricket artist. Last Thursday, November 29, in confessing to his long practised habit of painting, he openly declared his love of other objects which have fuelled his painting passions. From landscapes, still life to Jamaican activities he opened 'An exhibition of original paintings' at The Verandah, Trafalgar Road.
A lot of potential is shown in the works of the emerging artist who only attended art classes to secondary level under the tutelege of Alexander Cooper and, to some extent, Samere Tansley.
He also has had some experience in the company of Basil Watson and Ras Ballie Reid, but his reluctance 'to struggle for survival with his art skills' led him into the business world of syrups and vinegars, where he was marketer, manufacturer and distributor. This, perhaps, is the best explanation for inconsistencies in the quality of his exposed work, in his short career as an artist.
Tending to stop at almost pastel-toned impressions in a number of his works at The Verandah, he appears to be still exploring his newly-adapted style and oil techniques. However, the fact that the majority of works lacked the depth of colour found in his earlier cricket-focused material was no deterrent for those who canvassed support for Blackford as he unfolded his raw talent.
Appreciation
'Stung by the Bee'
To virgin eyes, there was much to love over and over again, and the patrons wasted no time in being picky, but showed as much appreciation for the new non-cricket variety as much as they have loved the creator for years.
Blackford is not listed among artists who expect viewers to accept him for whatever he produces. He strives to be a world-class artist as it seems he has grasped the vision expressed by Helen Mason "You are either world-class or no class".
Although his works are collectively appealing in their own right, there are opportunities to be critical, Blackford makes it clear which rung on the ladder he is, as he remains focused on developing his skill.
His cricket pieces, exhibited earlier this year, represent a higher level of self confidence in his signature style and technique, but at The Verandah, the subjects and a few compositions were the reasons for his appeal.
His striving for consistency in his signature style, detailed in works such as 'The Water Carriers' and 'On To the Market' and 'Mento Yard 1 & 2', is one of the strengths of the exhibition. Applied to his subjects, his style shows how much of a man of action he has become, after years of involvement with Jamaican cricketers.
He allows his background forms to merge into linear patches of colour, and still we are able to recognise what his subjects are. In the foreground of these compositions, the action-filled subjects, rendered a bit differently, do not compete with the background underlining their drama.
This ability to manipulate foreground action against a rhythmic background makes him unique. He is also successful in his play on abstract expressions. Examples are the largely pink thinker who is 'Sitting in Limbo' and the black and white music piece 'Sing on Key'.
His subjects are as carefully selected, as much as he says his guests were hand-selected for the night. At the current show, he reports a lot on Jamaican life.
He discusses from the everyday 'Nutten Nah Gwaan', 'Shrimp Sellers', 'Stung by a Bee', 'Dray Cart' to moments of Jamaica's spiritual lifestyle with 'Baptism' and 'Home Sweet Home'.
Stronger pieces
'Shrimpsellers' by Richard. - Photos by Kent Reid
The stronger pieces were, not surprisingly, bought more quickly than the rest. These include 'Mento Band 1', 'Mento Band 2', 'Take Warning' and 'Baptism' his impatience with a few subjects comes through in a few pieces, where the human form lacks proper proportioning, they all bridge gaps between Jamaica's past and present and roads of life today - 'Combing her hair' 'Rural Town Square' and '14 Miles to Kingston' are three in which he captured the proportions as he intended.
The guests, largely from his own intimate cricket circles, were not only surprised by the works, but charmed by the deviation from his cricket subjects. Honourable Derrick Smith M.P., C.D., J.P., Minister of National Security was guest speaker and wasted no time in encouraging the lot to purchase "now" as he warned that "the best time to buy an artist's work is when he's just starting." He said this in reference to Blackford having captured the international spotlight, during this year's Cricket World Cup, which, he says, may lead to the artist's work gaining value.
At the last World Cricket Cup hosted at the Sabina Park, Blackford was one of the few artists who had opportunity to exhibit his works at at least two locations. Blackford's impressions then, especially 'Ketchi Shoobi at Hellshire Bay', will long be remembered.
Cricketer Jeffery Dujon, a former object of Blackford's painting strokes, expressed pride in the maturing of the artist, and was pleased to have been invited to reconnect with the aspects of Jamaican lifestyle, pieces such as 'Mento Yard 1 & 2'. The coveted painting of Clive Lloyd in action was given to Minister Derrick Smith, Blackford's close friend for over 20 years.
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 at islandartattack@yahoo.co.uk or anthea.mcgibbon@gleanerjm.com.
