Anthea McGibbon, Gleaner Writer

'BlueBathed Hibiscus' by Sharon Fox Mould. - Photos by Anthea McGibbon

Collectively, as a breath of crisp fresh air, Jamaican artists created rainbows last weekend. In a swift twist on Jamaica's art tourism focus, members of the Jamaica Guild of Artists took their artistic expressions of Jamaica culture to Los Angeles, California. Their historic visit comprised an exhibition at the 626 Gallery at Studio B, followed by a silent auction at the fund-raising banquet held by the Jamaica Cancer Awareness Association of California at the Marriot Hotel.

Bringing life to the streets of downtown California, 48 paintings by members of the Jamaica Guild of Artists, were executed in the ongoing 'Caribbean Explosion' exhibition, which will run until November 30.

According to U.S. citizen Bruce Largent, an electrician, "Americans are restricted in their colours, as is seen in their dressing."

Commenting on the exhibition, he noted that it was dominated by colour usage, and said, "Overall, they (the artists) capture the art and soul of Jamaica as a cultural society. Particularly enjoying was the creativity and blend of colours behind the Alphanso Blake's abstract cubism pieces, 'Play Me' and 'Flat'," he said.

"The images appeal to my imagination." On the other hand, he could appreciate McAnuff's reflection on how Jamaicans worked with their hands, while pieces by Bernard Hoyes and Melhanie Spencer reflected spiritual depths of Jamaicans, he said.

Spiritual depths

'Spiral Rhythm' by Bernard Hoyes.

According to Kimberley, Largent's wife, she loved the vibrancy and depth of colours that were different from what she was used to. A number of patrons thought that the exhibition also mirrored typical Caribbean lifestyle, which they view as colourful and demonstrate the strength of black people.

Paula Morrison Davis is a Jamaican who has lived in the U.S. for over 40 years. For her, the show was welcome as it was the first one she has seen with Jamaican art as the focal point.

The exhibition pieces ranged in techniques from the influence of painting masters to experimentations and abstracts, but were impacting in character and messages. The themes and subjects all varied from activities such as cooking to landscapes, flora, combined into a collage of Jamaican experiences.

Watercolours

Jamaica Guild of Artists representatives pose for a photograph at their historic exhibition in Los Angeles, California. From left, California resident Bernard Hoyes, visiting Mabusha Dennis, Sharon Fox Mould (president, Jamaica Guild of Artists), California resident Yolande D'Oyen, Gleaner writer and guild affiliate Anthea McGibbon, and visiting artist Ewan McNuff. - Photo by Bill Farrell

Among the overall favourites were the stunning watercolours of nature's elements by Yolande D'Oyen, who strategically includes scripture texts in her pieces. 'Banana Blossom', 'Dawn of New Beginning', and 'Secret Place' showed variations in her command of watercolours and talent too, as an architect. The use of biblically based themes was inspirational for viewers such as Mary Helen Soho, who admitted that the exhibition was her introduction to Caribbean art.

Carol Watson's pieces arrested much attention, as her use of colour vibrant, was in no way overpowering in her depiction of everyday Jamaican life like cooking in 'Run Fowl Run'. Alexander Cooper's 'Sunday Morning' caught the constant attention of at least one collector, who admitted to being very impressed with the technique of the painting master.

Patrons who came to see Ewan McAnuff's actual 'Coconut Man' which was reproduced on the invitation, were not disappointed as he, too, delivered practical illustrations of Jamaica, for example, in his 'Wash Day' and 'Man and Dog', a welcome change from his known landscapes.

Toothless granny

Carol Watson's 'Run Fowl Run'.

Master photographer Howard Moo Young also mounted illustrations which were eye-catching. 'Smile Jamaica', a colourful pointillism-illustration of a Jamaican elderly toothless granny, was his best received. American-born Sandra Mayo, of Jamaican parentage, was among the few who immediately felt homesick, but grateful for the chance to be refreshed by the lively images.

Natalee Greene, an American marketing agent of Jamaican parentage, was enamoured by the sombre pieces of Melhanie Spence, which she felt were of museum quality. Describing the pieces as phenomenal, she told The Arts that she longed for the day when such pieces would be mounted on the walls of museums, such as the California African Museum the framing was conservative, the contemporary-calculated-face projects were dramatic and revealed the deep thought of the artist - a combination of spiritual reflections and her individual experiences.

Downside

Photo by Bill Farrell

One downside of the exhibition was the lack of reproductions for the collectors who have grown accustomed to purchasing lithographic and gicle prints. Johnnie Huffman buys from only the first 100 lithographs and feels that giclees lessen the value of the art, while the originals may be too pricey for his budget. Huffman, who has travelled to Barbados and Jamaica on several occasions, told The Arts that his all-time favourite was 'River Bank-Castleton' by Mabusha Dennis.

That aside, the show, which brought more than a piece of Jamaica to California, was well received and priced just right for those in attendance. It provided good connectivity between American life and Jamaican life, through varied art expressions. Already there are a few Americans who have committed to visiting Jamaica in the near future.

The guild's artists additionally got a chance to meet local California artists on Thursday's 'Meet the Artists Art walk'. Afro-American celebrity artists Kenneth Gatewood, Synthia Saint James (with roots from Haiti) and African-born American Aziz joined gallery owner Charles Bibbs in leading a panel discussion on 'The way forward for black artists'.

Yolande D'Oyen's 'Banana Blossom'.

President of the Jamaica Guild of Artists, Sharon Fox Mould, spoke of the challenges Jamaican artists face in getting respect in their home country. She also made an appeal for artists of African descent to unite. Resolving issues such as copyright, welfare needs and discrimination of its members, especially by selected collectors and gallery owners, were high among the priority of the guild.

Ongoing tour

Ewan McAnuff's 'Lunch Time'.

With this objective, the exhibition is a part of an ongoing tour by the guild to promote Jamaica art and culture. Last Friday, she left with other members to a similar exhibition in the Bahamas, while 'Sisterhood of the Floral Arts' is still running at their Oakton House location, Half-Way Tree.

Artist Bernard Hoyes, whose 'Chickens at Revival', 'In her own state of grace', and 'Spiral Rhythm' were also among the favourites, beamed with pride at the talent of Jamaican artists. Revealing his current mission to bring Americans to the shores of Jamaica to indulge in Arts Tourism festivals, he said "Like Cuba and Haiti, we as Caribbean artists need to get the word out about our art."

Owner of the gallery, Charles Bibbs, said the pieces surpassed his expectations, and along with Synthia Saint James and Kenneth Gatewood, committed to doing more to advance artists of African descent across the world. There is need to tap into and expand the buying market of one million persons, as our art (black people) is very strong and creative, he said.

Travel and accommodations where sponsored by Air Jamaica, I Art I Gallery, New York, and D'Oyen Designs, California.

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