Anthea McGibbon, Gleaner Writer

'AmenRa' by artist Khephera Oluyia Hatsheptwa.- Norman Grindley/Deputy Chief Photographer

ON THURSDAY, artist Khephera Oluyia Hatsheptwa enthralled her audience at the Mutual Gallery with her exhibition, 'Coming to Full Circle'.

Hatsheptwa is again free to express beyond society's inhibitions, this time as a loud schoolteacher according to art historian Petrina Dacres, she is somewhat more subdued than her monumental abstract canvases of the early 2000s.

Dacres describes Hatsheptwa's comments on diasporic politics then as more provocative and emotionally intense.

With National Heroes Day approaching, Hatsheptwa reiterates the National Gallery and Institute of Jamaica's collaboration with stirring memories of slavery. 'Coming to Full Circle' is a celebration of being black.

Transformation

In Hatsheptwa's Mutual Gallery 'classroom' are mathematical symbols and Egyptian hieroglyphics. She seeks to bring about an awareness of inborn intelligence of the black person too long hidden. She reflects on ancient African history, through to present day experiences and on to the future - 'the totality of black collective life'.

That something can be transformed from nothing and again into something is the most prominent feature of the works. In a way, it speaks to the artist's traumatic experience of seeing her home being razed in September 2005.

Transformation I is from her first 11-piece series under the same name, done immediately after the fire, and with remnants from the fire. Done largely in black and white, it is for some the strongest piece, offering balance and symmetry.

Through the Mindscape Series I-IV, an evolution of the Pi into a three-legged symbol, there is deep discussion of early African civilisation.

The Mindscape Series best summarises the essence of the show. In Mindscape I, black icons are remembered: Josef ben-Jochanna, Dr. Ben Carson, Rosa Parks, Paul Bogle, and Marcus Garvey. Mindscape II, inspired by In the Castle of My Skin by George Lamming, cleverly reflects the skin as a shield for the black man's strength. In the dynamic Mindscape IV, the pi evolves to a new three-leg symbol, but only after the triptych Mindscape III examines the organic aspects of the human through mathematic calculations. It is one of the pieces which is based on fractions. Masks of Ancestors also creates something from nothing, but this time Hatsheptwa portrays a development of the mind from the embryonic stages of civilisation.

Her 'own Africa'

In AmenRa, kneeling Pocomania women are positioned in three-band circle of wood chips and charcoal, heads lowered. The five women bear headwraps depicting elements of nature - earth, wind, water and fire. It is strong in its initial commentary on our culture and history.

An eclectic audience viewed the exhibition. The diplomatic corps was represented by the Venezuelan, Canadian and Cuban ambassadors; collectors, educators, historians and art buffs also attended. Super Plus principal Wayne Chen, an art collector, said Hatsheptwa has "created her own Africa", a welcome addition to the "many existing Africas".

Indeed, Khephera Oluyia Hatsheptwa not only reminds us of slavery and the threats of modern colonialism, but gives hope through communication. 'Coming to The Full Circle' can only help us develop our cultural identity.

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.