Photos by Winston Sill/Freelance Photographer
LEFT: 'Lacy's Vase' (oil on canvas) by Amy Laskin was mounted at the opening reception of 'Still Lifes' at the Seaview Fine Arts Gallery on Thursday, November 15.
RIGHT: One side of Dr. Boxer's diptych 'Not So Still Life' (mixed media on canvas).

Anthea McGibbon, Gleaner Writer

Wallace Campbell was at it again. He knew just how to hit the spot.

Located in the centre of the 'Golden Triangle' of Kingston's real estate, Campbell has transformed the great house once belonging to Burnett Webster into a gallery a few steps down from a contemporary museum of fine art.

At the same time, emerging artist Monique Binns teased many a palate with her ceramic pieces at the Gallery at Redbones Café, Braemar Avenue.

Whether he began collecting art for the monetary value, or the heck of the art, Campbell has matured into one of Jamaica's best known and revered art collectors, giving challenge to both artists and collectors alike.

Exemplary lesson

Last Thursday, he delivered no less than an exemplary lesson in exhibition mounting there was no formal programme. Repainting sections of the great house in a soothing purple, he set the pace for an irresistible connection to the contemporary works on display. For easy navigation to the pieces, a full colour catalogue was done. On the outside, sofas placed in the middle of the vast green carpet made visitors welcome to stay even longer to mill with tasteful paintings.

And so, at least an hour before the scheduled opening time, guests from varied backgrounds poured in to get their fair share of the eye candies. A number of the pieces were evidently secured before the opening, but this was not a deterrent to the more than 200 who came to partake of the offerings.

With his keen eye for detail and intimacy with the visual arts, Wallace chose 10 from Jamaica's committed contemporary artists to welcome the Christmas spirit. Strategically, he also placed single works by prominent artists to complement the package. Single works by Barrington Watson and Angela Staples were given good space as dessert to the mainly featured artists, namely Colin Garland, David Boxer, Hope Brooks, Amy Laskin, Judy Ann McMillan, Seya Parboosingh, George Rodney, Susan Shirley, Heather Sutherland-Wade and Samere Tansley.

Upon entering the main space, on the cool, purple wall is Amy Laskin's magnificent oil 'Lacy's Vase', evidence of her artistic talents. Beside it is Samere Tansley's 'Floral Arrangements with a view' - springing flowers against a mauve background placed in order after her acrylics on linen. In the same room, George Rodney's abstract acrylic on canvas 'Monkey Bar Series' and the abstract mixed media on canvas by Dr. David Boxer complete the promise of exquisite works of fine art.

Controlling their technique and commanding their subjects to yield to their non-compromising works, the artists send signals through their largely pleasing works, full of vigour, energy and emotion.

Boxer's 'Still Life for G.B.' is among the smallest of his total works, but is more advanced in composition than the diptych, 'Not so Still Life II'.

Intimate affair with tools

Susan Shirley's meticulously done pieces demonstrate her intimate affair with her tools. Having a steady hand, she captures tonal value and texture exceptionally well with her watercolours, and pen and ink reflections. 'Still Life with bottles' literally sets her apart from the explorations of other artists as she demonstrates a deeper understanding of watercolour and ink, even though her chosen colours are limited.

Colin Garland's semi-abstract oil on canvas 'Untitled (Shell and Crab)', bore a strong description of humankind as Garland probably observed. Simple, yet strong in technique, the crab has gone outside the protection of its shell, but not explored enough beyond the accepted parameters. Hope Brooks offered variations of female figures identifiable as mothers, jars, bottles and books in gouache, ink, moulding paste, on mostly board. She seems to have a fascination with hidden treasures along the paths she has taken, but one gets the impression that she is shy in showing the full strength and beauty, having found protection within the borders of her comfort zone.

The works by the 10 contemporary artists were well received. Going beyond learnt academic techniques, the artists enhanced their expressions with their individuality.

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.