Anthea McGibbon, Gleaner Writer

'Here and There' by Mike Stanley. - photo by Anthea McGibbon

At the Mutual Gallery and Art Centre Limited, Jamaicans have a chance to absorb as much energy as is being captured and collapsed into the displayed works of art. Titled 'In Retrospect - Selected Works from 1979-2007', the pieces are Mike Stanley's manipulation of thick blobs and thick washes of acrylic on canvas.

Born in Wales, Mike Stanley is by nature calm, steady-minded and unassuming. However, Stanley who lectures at the Caribbean School of Architecture, University of Technology, understands the 'language of painting', which he speaks passionately.

Former painting lecturer at the Edna Manley College of the Visual and Performing Arts, Stanley's works are the result of images and experiences he has absorbed since childhood. Images such as people, places, objects, animals and the textile creations of his wife, Margaret, tailored by his experiences in sculpture, music, especially jazz, and poetry.

Dynamic vision

Stanley who has contributed to the Jamaican scene for over 20 years, translates his dynamic vision (of traditional subjects) to large-scale, non-figurative paintings shown throughout Jamaica and England.

Perhaps art critic, Clement Greenberg, would not have hesitated to include Stanley on his 20th-century post painterly abstract artist list, as Stanley focuses on exuding energy through unmodulated colours more than defined strokes and shapes.

However, Stanley's works are very personal, and with openness and clarity, he expresses in volumes his varied passions that result in good designs.

Largely influenced by British teacher and long-time friend, John Hoyland, an abstract expressionist, Stanley presents a combination of the versatile and provocative Pablo Picasso and the illustrious Henri Matisse, for example in 'Sol and Sombre'. He explores from bright hues to dark shades and shadows of life with balance. Stanley is unrivalled in his sensitivity of line and colouring, as Henri Matisse with his highly decorative and expressive works was in his time. On the other hand, Stanley's works are as emotionally varied and strong as the technical mastery of Pablo Picasso, who through his works rapturously celebrated the pleasures of love, while exposing the cruelty of his fellowmen.

At Thursday's opening of the exhibition, guest speaker John Greenland, executive director of the National Gallery, shared noted discoveries of the artist he knew very little about.

Speaking on the tremendous consistencies in the works, the art historian and educator described Stanley's works as "spontaneous, expressive and intuitive". For Greenland, the artist who splashes, and "puddles" also "feels, tastes, hears, and touches" colour strongly. 'Black Beauty' and 'Latin Lady' were among the pieces particularly highlighted by Greenland who likened the exhibition to a musicians' jamming session, as he said "Mike Stanley likes to play".

Highlighting Stanley as one of the few artists bringing an English style to Jamaica, gallery curator Gilou Bouer was quick to emphasise the apparent lack of this explored art expression at the Edna Manley College of the Visual and Performing Arts. This is especially against the backdrop of an increasing interest in pop art and newer art movements internationally.

Exploration of paint

Stanley spends very little time in narrating tales. His works are an exploration and manipulation of the paint itself - the colour, texture, light, form as he moves to intensify its physicality and substance, as much as was the focus of early 20th century abstract expressionists.

The artist who literally gets down to execute his craftsmanship, is equally involved with jazz as for him both, being improvisational, require a similar kind of working. In the dominantly blue diptych 'Blues and Green', the inspiration of Miles Davis' music is evident.

In the overall exhibition, the purposeful use of colour arouses more than emotions. An atmosphere of lightness is created. Viewers feel whisked off their feet as several images are immediately envisioned in choreographed musical.

There's a lot of dancing and open expressions of love in the works that spark the rotation images, such as the sun, waving flags, musical notes, squirming fish, moving lips, singers and musicians through one's mind. Quite arresting is the way the shapes come alive in the mind to form new images within new realms.

Through his works, Stanley also travels from Jamaica to other Caribbean countries he has never been to, such as Trinidad. The piece, 'Hasta Luego A Chaguaramas' largely a full-scale canvas of fiery red has a well-placed diagonal splash of white and black connecting viewers to Trinidad.

In 'Jamraak', there is a horizontal band of red, yellow and green in the centre of a vertical strip of grey, but juxtaposed by angular black lines and a gold circle

In most of the pieces, rhythm and movement are remarkably illustrated and you can't help getting jazzy even by the sparked musical notes. Songs, beats instrumental pieces are also easily identifiable in a few of the pieces.

Strongest manipulations

'Latin Lady', 'Brasilliance', 'Self Portrait in Primary Colours' are among the strongest manipulations. In 'Self Portrait in Primary Colours' the peaceful nature of the artist is depicted in blue. Red lines are looped around the head and the feet as if telling of the busy traffic of ideas engrossing the artist's mind. Again the head is encircled in yellow imitating a halo of energy as a source of creative ideas and inspiration. Around the feet is a circle of red, perhaps representing the varying passions explored by the artist. Interesting enough, a curved line is liberally applied to the chest over a single red line, hinting at embryonic stages of new emotions and ideas.

The overall objective of being vibrant, vigorous and visceral is achieved. As jazz enters through one's ear to the emotions, the art works have bypassed rational responses of the nervous system.

Mike Stanley is not sure if his works are "of Jamaican taste" when he recently compared himself to painting master Barrington Watson at the exhibition's opening. However, his works of 'One Love' are equally stimulating, and exude positive energy worth emulating.

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