Anthea McGibbon, Gleaner Writer

Bajan, Sir Garfield Sobers, was a supreme batsman, who could bowl pace or spin.

THE 2007 ICC CRICKET World Cup (CWC) has prompted a unique spell of elegant artistry, as Jamaica's artists interpret the game and explore the characteristics of its participants with their brushstrokes.

One such artist and cricket enthusiast, Richard Blackford, recently bewitched an audience with his oil paintings of the game, done over the past three years.

Along with his publisher, the Book Merchant Limited, Blackford recently launched a calendar titled Images of the Game at the Kingston Cricket Club, South Camp Road. A fitting souvenir for the coming Cup, the calendar showcases 12 of Blackford's almost 200 paintings in celebration of cricket.

His works will also be on display at Sabina Park during the March/April series, and at an exhibition during the final in Barbados.

Blackford, who studied painting up to high school level, paints from a historical perspective and the calendar features this. His first painting was of a cricket scene and was presented as a wedding gift. After that he fell in love with the "feel of the brush and freedom of expression" and he hasn't stopped visualising cricket imagery nor translating actual images.

The calendar's selections tell a tale of the main artists influencing him whom he says are Alexander Cooper (former art teacher at KC), Samere Tansley (former art teacher at Camperdown) and Jamaican Masters Barrington Watson and Albert Huie.

Little detail

With very little detail, the artist captures the moods and creates accurate impressions of what the eye sees at particular moments of the game.

In 'Celebration Time', the shared joy of a victorious team is depicted. Treats of West Indian pace bowling are offered by 'Pace like Fire I' and 'Pace like Fire II'.

The inelegant 'Asian Rivals, India & Pakistan on Course for December Resumption' highlights the versatility of play, as a Pakistani bowler sends the ball whizzing past the Indian batsman's nose.

The treatment of the crowd viewing the action in 'Games in Progress' pulls a silent applause from onlookers.

Significant days

The calendar's images are not placed in any particular order of reference and a miniature yellow-toned illustrated batsman, juxtaposed with a cricket ball, repeatedly highlights significant days of the cricket season.

In 'A spectacular catch', adapted for the calendar month of April, the artist failed to properly foreshorten the player, who seems too rigid - unlike the illustrated mobilisation of the agile batsman in 'Greetings'. The batsman's leap in 'Greetings' to avoid a hostile delivery from a West Indian pace bowler is cleverly depicted.

A wicket forms the background of the monthly slots, which are paginated opposite the individual images.

The calendar's vibrant layout is the responsibility of graphic artist Jonothan Watts and its booklet form is developed from last year's flat panel version. Useful information on the schedule of events and historical dates are listed, but these are sometimes uncomfortably small, despite the sharp prints on the semi-gloss pages. Still, the careful observation that a patient Blackford commits to the game unfolds on every page.

Highlights

Cover image 'Ketchi Shoobi at Hellshire Bay' was one of the highlights for elated guest speaker Mrs. Pat Ramsay, director of art and culture at the University of Technology's Centre for the Arts. Applauding the effort as a winning product of "someone with vision who is able to produce", she encouraged its use in community outreach to show young people what could be achieved when someone worked hard at what they believed.

Ambassador Stewart Stephenson highlighted favoured images which took supporters down memory lane and commended the artistic achievement. The memorable 'Curry Goat cricket' introduced nostalgia for a plate of curry goat after a well-played game.

First vice-president of the Jamaica Cricket Association, Paul Campbell, was appreciative of the artistry which captured the spirit that he envisions "will move the game back to being the premier sport" as he urged the audience to "live the game and the passion".

Selected space

Aside from the calendar, several paintings adorned selected space at the Kingston Cricket Club for the launch, bearing more detail and commitment of Blackford's style. This especially in his portraits such as of Sir Garfield Sobers, and full figures such as those of Australian fast bowler Glenn McGrath and West Indian captain Brian Lara.

As a businessman, Blackford said the launch at this time was simply "opportunistic".

He also criticised the lack of direction in Jamaica's youth laying blame "on the inability of adults to pass on a vision". Highlighting the commercial business of art, he identified the lack of business sense in cricket participants as being a great challenge.

He advised those in attendance at the launch "do not allow dreams to die. Do not die with the music still in you".

Special guests in attendance included photographer Headley 'Delmar' Samuels, Phil Powell of the British High Commission; Lanny Walters, Honorary Secretary, Kingston Cricket Club; Blair Bobyk, Councillor, Canadian High Commission; Karabo Letlaka, First Secretary (Political), High Commission of South Africa; Paul Campbell, first vice-president Jamaica Cricket Association; Diane Spence, marketing manager, LASCO; Mrs. Janice Rose-Brown; JFF marketing manager, and Jimmy Richards, statistician.

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.