The Liguanea Drug and Garden Complex became Sunday last, a cross between Lincoln Road Market and an irresistible vibrant Caribbean corridor of sounds and sights, with every inch of the defined festival space boasting artists, some 80 in total, eager to show, tell and sell their artwork. There were, too, on many a lane (yes, the aisles were transformed into lanes with actual names) artistes who demonstrated their craft against the backdrop of the sounds of the Akwaaba drummers. It all felt tropical and passionately romantic, with easels set up for those who came to work, like the sketch and airbrush artists, writers and photographers. But there were those, like Juanita Ramos, who sat with her back to the crowd painting ever-so-minute spots all over a wall-length giraffe painted earlier.

Nichole Superville-Hall could barely look up from coiling the copper wire used to make jewellery she was forced to replace — a result of eager patrons snapping them up. With so much to absorb, it was the pop art with a Jamaican twist of Peter Peart that stood out. Like the renowned Japanese artist Takashi Murakami, who incorporates the art of anime (which is traditionally Japanese) into his pop art, they both find innovative ways to keep their art relevant through the consumer’s daily functional use. Murakami, for example, collaborates with Louis Vuitton to include his graphics on handbags, while Peart has his prints on light switches, outlet covers, jewellery boxes and coasters. Nakazzi Hutchinson’s sculptures of twigs and tree bark, as well as her Tree of Life sculpture made of fiberglass resin interior and tree bark exterior, captivated many. Hutchinson displayed miniature mixed-media sculptures that served as the model for what will be her monument at the Norman Manley International Airport.

Howard Moo Young, one of the original organisers of the festival, is a photographer and artist who creates pen-and-pencil originals, works in calligraphy and graphic design. Moo Young also demonstrated his Sharpie marker photo art, which results in a three-dimensional effect.

Richard Atkinson’s papier mâché impressed, while Natasha Pasmore piqued interest with her brightly coloured floral paintings and intricately detailed rock painting. Jeremy Francis’ Morning Glory 1 & 11 captivated and were like long, deep, breaths of fresh air with both depicting what appears to be dawn on the waterfront complete with its emptiness and serenity. Anji Worton’s Lime Cay collection served to convey a similar theme.

Celebrated art families came out in their numbers: Webster Campbell, painter, shared a stall with his 25-year-old son Torraine, who has followed in his father’s footsteps and is also a painter. Allison Sinclair’s stall stood a few metres from her son Solomon Sinclair’s, whose work in mixed media were hand-painted acrylic ceramics, mounted and framed. Rachel Wade gave us the kitsch factor with illustrations that emit a sunny disposition, while Heather Wade brought impressionism to the fore through her landscapes. Raymond, Basil and Kai Watson were all in a row, often finding themselves in each other’s booth. It appeared that ceramist Gene Pearson’s booth was twice the size of many and SO observed a noted collector leaving swiftly, a bubble-wrapped monstrosity that could only be a signature sculptured head in tow.

As the crowd dispersed, signalling the close of the seventh annual staging of the art festival, both patrons and artistes alike seemed buoyed by the reception and the obvious possibilities.