The big one got underway last Sunday. The annual 'all-island' exhibition of painting and sculpture, which began at the Institute of Jamaica back in 1938, transformed itself two years ago into a Biennial ('biennale' having become a modish tag over the years following the huge success of such conglomerations of art works in Venice and other illustrious locations). It simply means something that happens with some regularity once every two years - not twice a year.

Hence everybody who was anybody in the art world hied himself to the National Gallery of Art for the opening of the Jamaica National Biennial and a lively party atmosphere as Taynia Nethersole hosted the ceremony and Oliver Clarke delivered an appropriate speech.

The St Ann Senior Citizens' Cultural Group sang and drummed its way through a series of revival songs and Christmas carols, decked out in a series of frocks to mad them, bustles and gold trim and whatever.

The crowd might have stayed on longer had the invitations divulged in advance that there were going to be further sessions into the early afternoon. At 1.30 pm, Anna Henriques and Peter Wayne Lewis, who both now live in New York, were scheduled to discuss their work and also "Biennials and why do we have them". An hour later, a children's tour of the permanent collection was to set off and activities for families with children mounted - whatever those are in an art gallery.

But Sunday is Sunday and a day that is much planned ahead of time and the gathering thinned out within the usual hour or so after the speeches and the meeting and greeting.
The reason for biennials, rather than annuals, is pretty clear. In art anywhere, it takes a long time to find oneself as an artist and to discover territory that is individual and characteristic.

Many communities resort to repeating and handing down traditional work and refreshing traditional compositions.
Much of the artist's time early on is spent in learning the craft of the art - though, to tell the truth, many of our newer crop seem to have cut this out of the curriculum; then there is the period of heavy influence either of teacher or favourite previous practitioners on the way of seeing and the approach to composition; and, if one wants to sell as one must, the influence of fashion; and, if one is lucky, at the end of the road, an arrival at Parnassus.

One may be able to reel off an impressive sounding list of artists over the centuries and through the different 'schools' of painting but it is sobering if one thinks about the ratio of that group to all the millions who have worked with brush or knife or chisel over the same centuries.

A biennial showing offers some time in between to expand, to explore to grow and to change, if necessary, and to consolidate before coming to the public with the results. It is likely therefore to offer more stimulation than to be found in seeing much the same things year after year.

Not that there has been any startling change evident in the exhibits this year. The same conundrum seems to tantalise our artistic fraternity. If you say that traditional painting with oils on canvas or whatever, is dead - a 20th century fossil; what then do you put in its place?

A large number of the works on display in the Biennale lead us to infer that much art education for practitioners must nowadays revolve round use of tin-cutters, glue and things you pick out of the rubbish heap.

It has its place in that it all contributes to making the collection full of variety and unexpected happenings between these and the self-taughts who seem to have developed into a real 'school' in that the similarity between the painters grows from year to year, some of it perhaps arising from the battles with the craft being of much the same kind.

The 2004 Biennale offers a wide and diverting choice of work and could not be described as dull. Interesting that, with the exception of the Curator, the jury for the juried entries was all female. The exhibition has this system of establishing a list of recognised artists whose work goes through whatever they submit (up to a certain quantity). Others are required to submit their work to a panel of selectors.

I would guess - with no poll to support me - that Laura Facey's Awakening may prove the most popular exhibit with viewers. A very big picture, it uses quite modern techniques and tropical accents to create an impressive work livened with gold, which reminds one strongly of Renaissance public pieces. Ms Facey also continues to demonstrate her prowess as a sculptor with Stretch, a piece in Styrofoam with mixed media, dealing with a crouching nude female figure.

The Brown family, as in Everald Brown (to whom the National Gallery gave a retrospective recently) is in full flood carrying on the images from their father's world. Equally self-taught, but with a distinct difference, was Llewellyn 'Bongo' Johnson's fascinating battles with bits of Lignum Vitae tree and roots turned into carvings all described as leaves.

The opposite of serious emerged in the work of David Marchand, who continues to be witty and a little naughty. He shows a sardine can with occupants, "Pop Can Dada" (mixed media assemblage) and "Condom Bowl...." (clay).

The Gallery seems to have its moments of blush, though why, goodness knows. Along with the latter Marchand, it has lots of sexy things on the walls and stands but it also has a room (small) with the warning sign that it is suitable for adults only. The exhibits contain a phallus or two but really nothing to surprise a child over five. Needless to say, during the opening formalities of the exhibition, there were four or five youngsters playing in there, apparently oblivious of the sign, and apparently unharmed.

The search for territory leads to curious places. Phillip Thomas winds up in circumstances that suggest either the Inquisition or the Ku-Klux-Klan and Rani Carson takes a trip through a Japanese TV set to fighters in Afghanistan (October 2001).

Both Cecil Cooper (Desire) and Milton George (Disappearing Man) seem to be in the process of exploring paths outside their established bailiwicks. Leonard Daley, whose work hasn't been seen too frequently in recent times, seems to continue to look into a world of dark, unexplainable things.

The exhibition also contains photographs, original prints and ceramics among other things. There are some lovely pots by Norma Harrack, and a particularly fine plum-coloured porcelain vase by Gene Pearson, most covetable. The exhibition is a large one. It will be open until March 29, 2005. You should allow yourself some time to absorb it, an hour-and-a-half at least.

EXHIBITIONS AND MORE AT DEVON HOUSE

Devon House recently presented a slightly confusing "The Grand Jamaica Art Gallery" (that's what the catalogue says), under the guise of a special exhibition or that's what it seemed to purport to be. Perhaps it's really the start of a commercial gallery for it gave no sign of being a specially selected collection or one with any particular theme. The items were crowded into one of the downstairs rooms and sort of rag-bag arranged.

Although there were a few really nice pieces by some of our established 'names', including Giclé prints (reproductions using the Giclé process, very expensive and very accurate in colour and texture) there were also far too many paintings reminiscent of the railings outside Terra Nova and the now demolished Courtleigh Manor Hotel.

Upstairs were some examples of that garish line of ceramics which Wassi Art puts out. There was a third show on in Devon House but the relationship with the others was unclear. It titled itself: "Photography Club of Jamaica 40th Anniversary Exhibition - 40 Years Of Photographic Excellence". Some good shots were included here, and in fair variety. All was not lost. There were traditional pieces and also images that had been manipulated with the computer. Some of the latter are quite intriguing, if only in the figuring out of how they were done.

Among some 150 photos, one remembers particularly Arlene Brown's manipulation of Rear View - Trident and Cross. Jeremy Francis favoured traditional landscape with water in Llandovery and Parottee. Maria Layacona's classic shot of Miss Lou & Mass Ran appeared, perhaps the best known 'theatre photo" in our land. Kai Meng Lui did a series of artful manipulations, including Women & Architecture.

Rosa Lym has a special affinity for flowers. So does Howard Moo Young, among a number of pieces which included Holywell Stroll, Serenity, One Love, Painterly Reflections (with its flamingoes). Jill Roberts' Walk The Line communicated nostalgia for the old rail service. She also showed quite different animal pictures in Cheetah and Zebra (Everybody's Different).

Devon Shaw's Sophie's Memories seemed to lay the serenity of the woman's character bare in this portrait. Roy Sweetland's Slash and Burn was effective. Roy Thomas made the unusual out of the ordinary in Paper On Step. Mark Weinberger skilfully manipulated his subjects in the green-faced Toy and Untitled, which looked like a Hindu miniature.

THE JOURNEY CONTINUES

Basil Watson long ago emerged from the shadow of his father Barrington Watson's artistic reputation, and concentrating mainly on sculpture, established himself in his own right. His prime interest continues to be in the human body stretching itself to its utmost. The elongations so produced are at the basis of his style.
Naturally, this turn of mind leads him quite often to dancers or people who might be dancers, slim and ascetic rather than plump and pudgy as most of us are. The dancing side of it makes us inevitably think of Degas and those exquisite figures of his dressed sometimes in fabric tutus. The approach reminds me also of a very popular sculptor in Britain, name of Tom Merrifield, if memory serves me right, who built up a wide popular reputation - and, I think, a comfortable income - with his 'statuettes' of well-known dancers, members of the various ballet companies. They sold like hot cakes with a name attached to them. Your own mantle-shelf image of Antoinette Sibley or Anthony Dowell!
It's something Mr Watson might care to think about. I'm sure there would be queues for your very own Rex Nettleford!
Watson's show, "The Journey Continues", ends December 31 at The Mutual Gallery, 2 Oxford Rd.

MERRY CHRISTMAS

And with that thought for the seasonal stocking, I must wish all those who have been kind enough to tell me they appreciate the Babble from this quarter - and all readers - a really Happy Christmas. We have been through a lot these past few years and we all deserve it. When next the column appears, I shall probably tell you about what I have been doing personally in these last many weeks leading up to Christmas - and you may then suggest that I need to be certified. Au revoir!
(C)Norman Rae 2004

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