'The Metaphysics of Egg Space' by Bryan MacFarlane. - Contributed
Bryan MacFarlane is a Jamaican artist living and working in Boston and Jamaica. Here he discusses his work with Dr. Jonathan Greenland, executive director of the National Gallery of Jamaica.
Please describe your work 'Unexploded Ordnance Nesting with Egg'.
This work represents the weapons and munitions used in warfare and left behind in poor countries that have been exploited by more powerful countries. When the French and Portuguese and English plundered West Africa they left the litter of their military technology. World powers do exactly the same nowadays with mines, etc.
I use cannon as an archetype to signify those powers who also claim to be moral leaders. There is also the ordnance that is left in the minds of the victims - this often ends up with them causing violence to themselves. As we have seen, sometimes the victims will even use their own bodies as explosives.
MacFarlane
What is the significance of the egg?
It represents perpetuation and rebirth and potential. People of African descent have faced genocide and enslavement but look how we have survived and flourished. Basically, the egg is a metaphor for the perpetuation of mankind, and that includes womankind, of course - they are the ones who are laying the eggs!
What inspired this piece?
Seeing the many cannonballs left behind from colonial times in the countries of West Africa and South America. As I watched the children playing amongst those things I realised they had a far greater significance.
When did you start painting?
I think my first serious encounter with art was when I ate the paint from a paint set my father had given me one Christmas morning! But I think third form in high school was a safer time: it was then that I did course work for GCE 'A' Level and earned a distinction.
What is your artistic process?
I set up a studio wherever I go in the world and with any art materials I have. I simply start working. I also bring back sketches and studies from my travels and create works from them. I travel to specific places for these inspirations because continuity of ideas and concepts is very important to me.
What are your greatest artistic influences?
I think that would be my thoughts on the sacredness of life and the perpetuation of it. I believe life is mystical in and of itself, and I've found that life also raises more complex questions than answers.
You have spent a tremendous amount of time travelling and working abroad, how has this influenced your work?
Travelling has had a profound impact on my work. It has opened my eyes to a lot of things and it has also humbled me. It has taught me new ways to make art and to communicate my personal ideas. I used to brag a lot about Jamaica 'having this and having that', but I am not sure that I believe in that anymore. If all my conversation on art is relegated to the narrow confines of an island - despite our sophistication as Jamaicans - then I might be in serious trouble. Nevertheless, it is my roots and one's roots are to be honoured on the highest level.
'Unexploded Ordnance Nesting with Eggs' by Bryan MacFarlane.
My work has grown tremendously over the years. Ironically, I feel as if the cultural institutions abroad have reached out to my abilities more passionately than the same institutions in Jamaica. The 'aliens' I live amongst in America at times are a greater source of encouragement for me, and I am grateful for those opportunities and influence abroad as well. My definition of a Jamaican is one who champions growth inna yard and beyond.
What do you think of the Jamaican art scene?
Well, even though our junior and high school art programmes are a shambles, the Jamaican art scene is vibrant and has contributed in a major way to contemporary art globally. But at times I think we are in the dangerous place where we might be a little self-righteous and self-indulgent and, therefore, a little blind at times to what is taking place beyond our borders.
Unless Jamaicans have the patience to decipher some of the demands of the North American and Western European cultural institutions, we will always be working with peanuts. We are, in fact, part of an imposing global world, whether or not we choose to deal with it. So-called 'Third World' countries are being left out and not even given what is their legitimate fair share.
I can't pretend to understand all of the difficulties we wrestle with in our own cultural institutions in Jamaica but many of them need to be fixed: they need to be able to face healthy criticism in order to flourish. Some of our institutions are overdue to make changes and fresh ideas have to be given a chance. We can't afford to keep manufacturing empty excuses which only underscore stunted growth and failure.
Reaching out to a younger generation of artists, scholars and curators and training them is the answer. Also, the Jamaican contemporary art scene is extremely diverse in its artistic manifestations, and this could be reflected more in our permanent collections.
What has been your greatest moment of artistic achievement?
Standing in front of over a thousand people at the prestigious National Press Club in Washington D.C. at a reception related to my art work in 1986. There were over 25 national media networks, television stations and newspapers reporting live and it was viewed by over 50 million people.
Do you have any advice for younger Jamaican artists?
One: Stay the course. Two: listen carefully to your elders. Cling to any mentor whom you feel cares about you deeply. Three: Try to create works not for the sake of sales. Four: Find a job, if possible, to earn money - train yourself to do other things than making art so you may first survive with a healthy spirit, and then feed some of these earnings into making work that you are honest about, even if it takes years. Five: as a major goal, try to leave Jamaica at least once to see and meet other artists: Cuba is a good destination. Sixth, and finally: Listen carefully to different points of view and never grow intolerant of others.
