Anthea McGibbon, Gleaner Writer

This 'Hibiscus, A unique perspective' is Sharon Fox-Mould's pop illustration in bright orange reflects the vibrancy of Manchester's flora, fauna and life. - Photo by Anthea McGibbon

Artists, collectors and investors who journeyed to Manchester over the weekend of November 9-11, to be enriched within the local art mecca, were not disappointed.

The occasion was the 15th annual art fair hosted by the Art Fair Committee of the Roman Catholic Diocese of Mandeville, and in accordance with the bifocal objective, "there was something for everybody".

At Thursday's opening, approximately 400 patrons were fêted with a social. On Friday, students were given a guided tour to "expose and give them a chance to see what Jamaica is producing" according to committee member, Marcia Tai Chun.

The other purpose of the show was to ensure at least 1000 smiles throughout the charities of the Roman Catholic Diocese, with the money garnered from the fair's sales.

On Saturday's visit by the Sunday Gleaner, enthusiasts had already bought a number of pieces, some being replaced with new masterpieces.

Evidenced by the pieces on display, was the obsessive love 'Manchesterites' have for art. It was hard to believe that there was no art expert on the committee, comprising 15 businesswomen. The works, priced from $500-$780,000, were obtained from owners and artists alike, either on consignment, as donations or business arrangements.

The show comprising over 400 pieces catalogued mostly in paintings, prints and a few ceramic works, spoke volumes about the adept talent existing in Jamaica.

This year, as at the show's inception in 1991, the committee struggled with the appreciation of photograph as a fine art. The impressive 'Banana Leaf Study #3' by photographer and graphic designer, Howard Moo-Young, the only fine art photographs on display. Other visual art variations were done in pencil, pen and ink, pastel and mixed media collages. Examples of the variants included Ainsley Martin's pastel 'Grandma's Garden', and Richard Atkinson's mural,' Congo Drum", of a drummer. The only piece in pointillism was again by Howard Moo-Young.

'Lessons at the Potter's Wheel' by ceramic hobbyist, Trevor Beaumont, in the kiddies corner and 15 craft booths well complemented the main display.

Intuitive artists

The fair delivered on all levels.Thirty per cent of the main display was by intuitive artists. The remaining threads of the well-executed tapestry were by older masters such as Carl Abrahams and Osmond Watson; younger masters, such as John Walters and Seymour Simpson; and emerging masters, such as new Mandeville favourites Brenton Campbell, Khary Carby and Phillip Thomas. An art student at the Northern Caribbean University also displayed.

There was no disappointment, however, as the pieces were individually strong in defined style, perspective or colour usage. Collectively, the brush strokes of the artists masterly depicted Jamaican life and culture.

Paintings dramatically narrated from basketmaking, dance, obeah, story telling, river bathing and washing, cooking, water carrying, to horticulture.

The less popular subjects included the crucifix, but George Rodney's 'Composition with Crucifix' managed to portray hope colourfully. Carol Watson's 'Soupy Corn? Castleton' manifested outdoor country-style cooking.

Young master John Walters captured popular gossip habits 'Market Story'. The accurate representation of elderly Jamaican folk within their natural working environment was a refreshingly welcomed subject. One strong painting was done of an elderly woman using a coal iron, while on another wall, in 'Grandpa and Child' an elderly man rested his grandchild on his left knee for stories.

As dynamic as the visual narrations were, the commitment to individual style and attention to detail were like symbols resonating in an empty theatre.

Eye-catcher

Realism and impressionism were the most commonly adapted styles, but expressionism was strong in a number of works, such as by Ewan McNuff. Without offering defined brush strokes, he, somehow somehow guided the viewers into understanding his feelings and an aura of nostalgia in his piece 'Ewarton Scene #1'. 'Riverside' by Robert Armstrong was effortlessly an eye-catcher.

The impressionist style of popular Richie Hall in his works 'The profile' and 'Gold' evoked indefinite mental challenge, while releasing a sense of freedom in a surreal way.

The male and female guitar pair by Marie Scully in 'Make a Joyful Noise' and 'Jazzy' was arresting in her clever, but modest use of mixed media.

One of the better-rendered pieces technically was "Mountainscape" by Rejane Muirhead, who was simple, yet uncompromising in strokes.

Ironically, the 'Jamaican Market' was the most expensive piece fetching a price of $780,000, and interestingly done by the intuitive Lennox Coke. A clever attempt at impressionism, effortlessly incorporating the style of today's pop artists. The focus is on culture, more specifically Jamaican market life. Perhaps, however, the piece is an avid representation of artwork, when overdone. The strongest value of this piece was in the proportions, yet the piece was busier than even typical Jamaican market scenes, almost forcing the viewers away. Perhaps the artist, Coke, would have benefited from applying the artist's "rule of thirds" (present in another of his works, 'The Big Catch'). The elements, though rendered together, themselves seem disjointed especially at the right of the painting. Yet, the piece is worth purchasing at a lesser price, when the initial hurdles are overcome.

Strong abstracts

The abstracts were as strong, and in some cases even stronger than the more representational pieces. Particularly strong were Joshua Higgins' 'Musical Instruments' and 'African Ensemble' in his use of colour, shapes, and lines.

'Mento Vibes' by Alphonso Blake was also captivating. A strong admission of Jamaican cubism, this piece expressed well the movement and culture of Caribbean life with colourful geometric shapes.

Overall, the pieces were well done and apparently chosen with precision. However, to the trained eye, the intuitives, though bold and impressive, were noticeable by a thin thread. With more attention to perspective, proportions, form and a more balanced use of colours, however, the dividing lines will become less visible.

The art show for patrons who spoke with theSunday Gleaner was a 'must-see', and for others who saved towards the show yearly, a 'must-buy'.

Winston Naylor, a resident builder, looks forward to the show each year and describes the current show as the "strongest ever in its 15 years".

Anthea McGibbon, a graduate of the Edna Manley College of the Visual and Performing Arts' has over 10 years experience in the fields of visual arts and journalism. Send your feedback to islandartattack@yahoo.co.uk or anthea.mcgibbon @gleanerjm.com.