Here is an article published in the Bahamas Tribune on December 5, 2007 that reviews The Jamaica Guild of Artists recently concluded visit to Nassau Bahamas.
BY WIL A. PLUCK (ART AND SOCIAL CRITIC)
The recently concluded art exhibition at the Ladder Gallery in the New Providence Community Centre in Nassau, Bahamas was by a group of four first time visiting Jamaican artists affiliated to the Jamaica Guild of artists. President of the group, Sharon Fox-Mould was accompanied by Myrth Hall-Butler, Melhanie Spence and Edward Channer. It was an undertaking by Mr. Sidney Strachan president of the “No Excuse Bahamas” social out-reach group which is primarily concerned with the plight and welfare of children who are victims of sexual and domestic violence, as well as women issues. In his attempt to expose such Bahamian children to other cultures as a means of psychotherapy, Mr. Strachan saw art as a most convenient medium. But in his attempt, he was only successful in securing Jamaicans through the Jamaica Guild of Artists. As Haitian and Cuban artists proved very difficult to arrange, his venture therefore was only partially successful, he intends to have subsequent follow up visiting shows.
SOURCES OF INSPIRATION
Their 43 pieces of art varied in style, content, discipline and pictorial interest. In what ever the chosen medium, paintings dominated the overall tone of the exhibition reflected the warmth and splendor of the romantic side of Caribbean life. But it is somewhat intriguing that amid the complexities and the disturbing dichotomy seen in the vicissitudes of life that have long been the defining hallmark of excellence and human triumph to heights of noble honour in the arts, music, international sports and academe, none of the human misery; the daily decadence, or personal, social and political discontent, has even vaguely inspired the visual interest of these artists. This pattern in Reggae land often strikes a questionable contrast when compared to many of their music counterparts and their chosen lyrics.
Some of these artists drew inspiration from the vast outdoors the romantic countryside. Prominent among these is Jack Allen’s meticulously rendered farm house – a landmark from bygone decades – captured at a dramatic angle amid thick foliage in a lonesome forest. Myrth HallButler is versatile and of diverse interest. Obviously, she is fascinated with the charm and the serenity she finds in the breath-taking snapshots of sun flowers and a glimpse of the ocean along Trelawney coast line that complements her placid stream, viewed amid the splendor of a tropical forest. Other naturalists are Patsy Mair and Beverley Jackson with their delicate Impressionistic landscapes. Such inputs were visually complemented by the likes of Ireko with her soft rendering of flowers on silk reminiscent of the Asians use of ink into wet paper with their diffused outlines a metamorphic fusion and the random child-like dribbles from a brush to add visual diversity.
Melhanie Spence effectively captures a Surrealistic fusion with Cubism in her piece “Pendulum” with her deliberate distortion of a magnified view of a human face scaled to enormous porpotions. Lois Sherwood’s Hibiscus in oils does not measure up to her prowess in pastels seen through out the decade of the 90s. Her effort however is somewhat commendable. Sharon Fox-Mould’s attention to details; her choice of colours; the complementary range of reds and greens, capture much visual dynamics that set her “Orchid Diptich” ablaze with intense interest and desire. Perhaps Edward Channer’s portrait of a black woman is the lone piece that focuses on the harshness of life as is captured in his subject’s facial expression that shows physical strain. The strong narrative element of Carol Watson’s market scene with its suggested dialogue is unmistakable or the sense of drama in the high gallop of a bowling cricketer as he makes his delivery. But Viv Logan “Woman in Vail” seems like a personal self portrait with an embryo seen in the womb. It seeks answers to searching questions in her life something tragic and disturbing. It’s a well studied and skillfully executed portrait of an out of body experience as the subject floats above ground. As the lone sculptor, Devon Garcia’s high relief, with two female subjects show an appreciable sense of depth and figurative proportions. Equally noteworthy is the “Classic Chello Player” by Devon Harvey with its organic fusion of decorative, shapes with forms. Likewise Betty Glanville’s clustered foliage emphasized a strong design quality.
THE JAMAICA GILD OF ARTISTS
The Jamaica Guild of Artists group accepted the Bahamian invitation at a time when they were also involved in two other shows in Jamaica and Los Angeles. The group which now comprises 60 professional artists observes 10 years of sustained annual showings in Jamaica. With government’s assistance not forth-coming, it has been challenged by periods of inactivity, but many young graduates from the Edna Manley School for the Visual Arts are increasingly attracted to it in search of professional guidance through annual work shops in a wide range of artistic disciplines in an otherwise rough and tumble Jamaica art world. The artists lament their plight, at the government’s reluctance to grant any tax ( G.C.T.) concessions on art materials or the actual sale of art quite unlike the situation in Trinidad and Tobago and Cuba.
While being somewhat disappointed, but not daunted by the lukewarm support by the local Bahamian art community, organizer for the visit, Mr. Sidney Strachan is hopeful of a positive change of attitudes to visiting artists.
Wil-a