Front Cover
 Table of Contents
 Frame centre calendar
 Studio talk
 Corporate collections
 In review
 Jamaican artists abroad
 Caribbean impressions
 National gallery news
 Jamaican school of art
 News and information
 Back Cover

Title: Arts Jamaica
Full Citation
Permanent Link: http://ufdc.ufl.edu/UF00101459/00008
 Material Information
Title: Arts Jamaica
Physical Description: v. : ill. ; 28-44 cm.
Language: English
Publisher: Arts Jamaica Ltd.
Place of Publication: Kingston, Jamaica, West Indies
Kingston, Jamaica, West Indies
Publication Date: November 1984
Copyright Date: 1982
Frequency: quarterly
Subject: Art, Jamaican -- Periodicals -- 20th century   ( lcsh )
Genre: periodical   ( marcgt )
Spatial Coverage: Jamaica
Dates or Sequential Designation: Vol. 1, no. 1 (Apr. 1982)-
Numbering Peculiarities: Some issues combined.
General Note: Title from cover.
 Record Information
Bibliographic ID: UF00101459
Volume ID: VID00008
Source Institution: Florida International University Libraries
Holding Location: Florida International University Libraries
Rights Management: All rights reserved by the source institution and holding location.
Resource Identifier: oclc - 11269244
lccn - 86644045

Table of Contents
    Front Cover
        Front Cover 1
        Front Cover 2
    Table of Contents
        Page 1
        Page 2
        Page 3
        Page 4
        Page 5
        Page 6
        Page 7
        Page 8
        Page 9
        Page 10
        Page 11
        Page 12
        Page 13
        Page 14
        Page 15
        Page 16
        Page 17
    Frame centre calendar
        Page 18-19
        Page 20
        Page 21
        Page 22
    Studio talk
        Page 23
        Page 24
        Page 25
    Corporate collections
        Page 26
    In review
        Page 27
        Page 28
    Jamaican artists abroad
        Page 29
    Caribbean impressions
        Page 30
        Page 31
    National gallery news
        Page 32
        Page 33
    Jamaican school of art
        Page 34
        Page 35
    News and information
        Page 36
        Page 37
    Back Cover
        Page 38
Full Text

14 AR4

UFA i*.9

.~ .......

Yvonne A* Lymont
TEL: 92-68202

Christmas Show

Group Show

William "Woody" Josephs

Cecil Cooper


Chairman Peter King
Managing Editor Margaret Bernal
Financial Controller Horace Rousseau
Production Assistant Tina Matkovic S$
Design/Graphics Carol McDonald,
Advertising Gloria Forsythe

P. 0. Box 79
Kingston 8.
Jamaica W.I.

The Managing Committee, composed of journalists, artists, and art lovers,
wishes to stress that Arts Jamaica is conceived as a publication dedicated
to all that is excellent in the visual arts of Jamaica. The magazine will
aim to analyse and celebrate those things and persons already recognized
as having greatness, while remaining open to new ideas and encouraging
potential wherever it is found.

/ T. Squares Inc.

This double issue of Arts Jamaica
marks, midway to our 3rd year, our tenth
publication. Since inception, Arts
Jamaica has been committed to carrying
"the story behind the picture" to dis-
cussing the careers and concerns of our
varied community of artists, to exploring
the themes which preoccupy them, and
the stylistic variations which ensure an
ever-challenging expression of these
shared concerns.
In its presentation of views, auto-
biographical statements, reviews, techni-
cal data and historical research, Arts
Jamaica has kept two concerns in the
forefront. To present the artworks them-
selves and let them speak; and to seek to
engage and stimulate young Jamaicans to
a better appreciation of their heritage.
This current issue, shifts full swing
from the "abstract visionings" discussed
in our last issue. Here we concern our-
selves with "Art and Craft in Everyday
Life." Prompted by the either/or per-
spective widely brought to bear on the
two disciplines, we propose that such an
arbitrary position obscures a common
commitment, a common source. The
things that differentiate the Arts and
Craft are, we believe, less important
than those dimensions which they share.
In this issue we explore,in leisurely
detail, the sources and the personalities
which have sustained and promoted the
twin developments in these areas. We are
also very pleased to present "Caribbean
Impressions" our new column which
will, on a continuing basis, seek to intro-
duce and bring together, the wide artistic
community which acknowledges the
Caribbean as "home."

Cover: 'Pot" Cecil Baugh c. 1965 -
heavily grogged body with pigment, running
glaze of Egyptian blue. Collection: Sonia Jones.
Arts Jamaica thanks the Cecil Baugh Project
for their assistance with this colour separation.
Photo: Tell Precision.


2- 7


Hand Crafts: the Useful Arts Anna Maria Hendriks

Ceramics in Jamaica: an Overview Norma Harrack


12 14 The Diana Cabinet of Mysteries David Boxer continues the discussion
on this many-faceted work with Rosalie Smith McCrea.

Dedicated to their Craft introducing two indefatigable workers for
Jamaican craft.

15 "T.T." Jackson Neville James reflects on the long career of this master

16 17 Karl Craig Chris Leon interviews an artist totally committed to craft.

A look at a building which confirms the evolution of Jamaican craft-
manship and an institution which provided impetus for its early growth.

20 The Jamaica Conference Centre

21 22 Shirley Maynier-Burke looks back at the origins of Festival.


First hand comments on the "craft business" provided by Jean Taylor-
Bushay, studio potter and Annabella Ogden, of Harmony Hall.

The Pan Jamaican Investment Trust Ltd. Laura Tanna introduces this
pioneer collection of art.

Works and comments from recent exhibitions, with a craft emphasis.

Janette Collins writes from Brasil

Larry Mosca celebrating Nature's bounty to man. Laura Tanna inter-
views this gentle artist from Trinidad.

32 33 NATIONAL GALLERY NEWS Arts Jamaica wishes gratefully to acknowledge
the photographic assistance in this issue of:
34 35 JAMAICA SCHOOL OF ART Keith Morrison, the National Library, Anabella
Ogden and Harmony Hall, the Urban Develop-
36 NEWS, INFORMATION, ment Corporation, Brian Rosen, Things Jamaica
GALLERY GUIDE. Ltd., Jim Treder, John Blake.
0 Arts Jamaica All rights reserved.

Jamaica's unsung heritage

, very art is, fundamentally, a craft or
skill; and every craft has the potential of
becoming art. The determining factor is
the mind which is applying the craft: the
extent of its imaginative range, the vast-
ness and grandeur of its vision, its
emotional capacity and expressive force,
its discipline. The degree of consciousness
which determines these manifests a like
degree of excellence in workmanship and
in the power to move responsive minds.
To that degree the craft that an individual
may practise is an art.
In medieval times, a fully trained
apprentice was required to make a
"masterpiece" in order to pass an exam-
ination by the craft guild's governors,
after which he was a master; he could
establish his own shop and train assistants.
It was during the Italian Renaissance
that a distinction began to be made be-
tween art and craft. Giotto and other
painters of the 14th century had been
members of craft guilds, which were still
powerful in 1434 when the superb archi-
tect, Brunelleschi, was imprisoned for
refusing to pay building workers' dues,
and the artist Cennino Cennini was seek-
ing to raise the standing of his profession.

Lorenzo de' Medici had to persuade
Michelangelo's father, a magistrate, that
the status of a man who carved statues
was different from that of one who
shaped building stones.
The artistic giants of the Renaissance,
by their genius and pre-eminent skill,
elevated their crafts; artists had a new
standing. By 1560, when an academy of
artists was established to encompass all
the arts, the guild system had disinte-
grated. Already, as Vasari observed, the
gentleman artist Salviati "hated plebeian
craftsmen." The distinction between art
and craft had been firmly made.
The elevated skills were painting and
sculpture, preferred by Renaissance
artists who culminated the naturalist
trend set by Giotto in the former craft
and Nicola Pisano in the latter; archi-
tecture, the elite profession of the Cathe-
dral Age, which some artists were trained
in; and engraving for original prints. Had
Giotto and Leonardo been tapestry
weavers and Pisano and Michelangelo
embroiderers, painting and sculpture
might still be considered manual labour,
or "crafts."
It was not until 1767 that the first
printed reference to "fine arts" appeared,
a modification which confirmed in
language the artificial hierarchy within
the creative arts.
In Jamaica, as elsewhere, the illogical
hierarchy still exists. Painting and sculp-
ture are valued and enjoyed. However,
original prints are suspect even if made by
a trained artist. Handwork has had a
different fate. It may be seen in practi-
cally every house or cottage, where it is
appreciated but is seldom considered art.
It is time that hand crafts are recog-
nised as arts, and that imagination, com-
position and technical excellence are the
measure of a master whatever his or her
medium may be.
As Herbert Read perceived, "Works of
art are things of use houses and their
furniture, for example; and if, like sculp-
ture and poetry, they are not things of
immediate use, then they should be
things consonant with the things we
use that is to say, part of our daily
life... "

Useful objects of beauty whether
carved, plaited, painted or executed in
other ways by hand with skill and care -
have existed for as long as have enlighten-
ed human beings. Originally made for
practical purposes, their beauty satisfied
an innate human need. Today, when
manufactured counterparts inundate the
market, they continue to be made not
only because they are a convenient means
to creativity, to tranquility, to filling pro-
ductively hours of solitude or leisure; but
also because their distinctive individuality
adds an elegance and interest to daily life
which a manufactured product can
scarcely match.
Jamaica's heritage of these utilitarian
works is a varied one, for throughout the
centuries many of the people who have
lived here have been skilled at working
with their hands. They introduced
methods of hand work traditional to the
countries from which they came, or in
which they were educated. Many of these
individuals passed on their expertise at
home or in the work place to the succeed-
ing generation.
For some, making these practical yet
ornamental articles had become part of
the pattern of life; for others, their sale
helped to provide subsistence or small
Perhaps because the skills involved
were practised quietly at home or learned
as a humble trade, or because many of
the objects produced were subject to
daily wear and tear, these works, ex-
quisite though they may have been, were
less valued than more costly possessions.
As years passed and fashions or life styles
changed, many of them were thrown out
or were in other ways lost to us.
That this has been so is regrettable
because that much less remains to inspire
us or to tell us about ourselves. But to the
continuation of these traditions is owed
much of the talent latent or manifest in
our society. These unobtrusive skills are
the Cinderellas of our culture.
Because such a varied subject is be-
yond the scope of this article, brief
accounts of only a few of the more wide-
ly practised arts and some of the rarer
ones have been included. However, each

"The Virgin of the Rocks" Leonardo da Vinci
c. 1485 oil on wood panel app. 75"x 43"
Louvre, Paris.


art is important for each adds dimension
to a people's ethos.
Needlework, crochet and dressmaking
have a broad deep base in all sections of
Jamaican life.
Embroidery and other stitchery have
been practised in our homes for many
generations and have been taught in girls'
schools. Even at the primary level, girls
were taught needlework at least until the
The churches have also been responsi-
ble for the wide practice of these skills.
In the 19th century, church groups got
together, sang hymns and psalms, and did
embroidery, crochet and tatting. Hand-
work and religion were an intrinsic part
of daily life. The effect of both on the
minds and characters of our people is
inestimable. Jamaica would not be what
it is without them.
An example of an expert needle-
woman who was active in both institu-
tions early in this century is Miss A.M.
Townsend, Headmistress of Westwood
High School. She not only taught needle-
work to her students but on behalf of the
Upward and Onward Society, a non-
denominational religious organisation, she
held classes in embroidery for women.
American nuns at Alpha Academy had
begun their sustained programme of train-
ing students to a high standard in needle
At that time, Jamaican women who
were educated in England learned needle-
work as well as painting and other arts. A

This applique and embroidered
panel with its graceful
arrangement of hibiscus, dates
to the early decades of this
century. Like most other
exquisite embroideries, modesty
and tradition kept its creator
from signing the work. Unlike
many other delicate pieces
however, it has been respectfully
framed and preserved. This ex-
ample, one of a pair, is thought
to be the work. of Elaine Linton.

few among many were Clara Shaw (sister
of painters Nora and Stella Shaw), who
worked tapestries in needlepoint or petit
point, having studied at the Imperial
College of Art; and the versatile Berry
sisters, school teachers who were as adept
with needles as with paint brushes. Eliza-
beth Huxstable, later Mrs. Tyrell, was also
skilled in needle-worked tapestries. Her
"Rebecca at the Well" is a fine example.
There has been a tradition of em-
broidery among Jews since the time of
Moses, when Bezaleel and Aholiab, skilled
"in all manner of workmanqhin" taniht

these works, including that "of the em-
broiderer, in blue, and in purple, in
scarlet, and in fine linen." Many Jewish
ladies here, some of whom learned needle-
work at Alpha, have been particularly
gifted at embroidery and cut-work, and
in turn have taught others.
Mrs. Sybil de Sola Pinto and her sister,
Miss Doris Delgado (later Mrs. MacEwan),
did fine white embroidery and cut-work,
as did Miss Freida Linton, whose work
was particularly beautiful.
The Institute of Jamaica awarded
Bronze Musgrave Medals for Needlework
to Miss E. Farquharson in 1904, to Mrs.
F.E. Hopkins in 1909, to Miss E. Burke
in 1910, and to the Woman's Self-Help
Society in 1911.

In the 1930's Elaine Linton, a cousin
of Freida Linton, made and sold beauti-
ful embroideries. A demand for these
products existed.
In 1937, when Jamaica Welfare women
district officers first went into the rural
areas to train groups and set up com-
munity centres, they found that these
"home improvement" skills were already
traditional. They had this strong base to
build on.
Women in lower income groups urgent-
ly needed income-generating skills. They
needed training, good designs, and a
ready outlet. Providing these was well
under way in the 1940's due to the
efforts of agencies like the Jamaica Wel-

Mrs. May Munro, learnt her skills in thread- where she lived most of her life. Now in her
work from her mother, when she was 8 years 87th year, she is working still, on exquisite
old; over the past 70 years she has shared them crochet bedspreads such as pictured here one
with a variety of young people in Portland, of her many award winning festival entries.

fare Cottage Industries Agency Ltd., The
Jamaica Women's League and the Jamaica
Social Service Embroidery Depot; as well
as many private individuals including Mrs.
Audrey Hislop, who began Allsides Work-
shop; Dr. Joyce Saward, the leading spirit
behind the Anti-T.B. League's Carawak
Crafts; and Rhoda Jackson and Phoebe
Hart, who designed for as well as trained
workers in designing and embroidery
respectively. Embroidery became a well-
established local industry, and Jamaican
hand-embroidered dresses and linens
became internationally famous.
One can now speak of embroidery as a
career; and a lady who has been success-
ful in this is Miss Thelma Thomas. While
attending Alpha, the high quality of her
embroidery was noted by the nuns, under
whose instruction she became an expert.
At age 16, she was employed by the
Embroidery Depot where, due to her out-
standing skill and patience, she was made
a checker of work, though she continued
embroidering intricate emblems for
schools and colleges. Because of her love
of it, she also "painted with threads"
at home.
More recently, and particularly
through Things Jamaican, Government
has extended its efforts to provide train-

ing, organisation and marketing for hand
arts, including embroidery.
Dressmaking has been a necessary and
valuable skill. In rural areas, children were
often taught to sew by their mothers, or
else on leaving school they were "put out"
to learn with a local seamstress. It was a
skill which provided a good living. And in
Kingston, fashion conscious women had
dresses custom-made.
The discipline and patience as well as
the accuracy of hand and eye which dress-
making demands are qualities which have
been ingrained in a large proportion of
our people.

Miss Doris Campbell a determined Pioneer.
Since her return to Jamaica and first mixed
media exhibition in 1945, at the East Street
Institute of Jamaica, Doris Campbell has de-
voted her exceptional array of creative skills to
teaching and improving local craft techniques.
Her work has taken her from a long career in
the Ministry of Education, through a post-
retirement stint at the Jamaica School of Agri-
culture, and an on-going consultant post at
Things Jamaica Ltd. Throughout she has also
found time to perfect her own skills in em-
broidery, jewellery-making, screen and block
printing, drawn thread and fabric work, textile
design, weaving, glass etching and a host of
other quality craft forms. The emphasis of her
own work and her teaching has always been on
"using what we have".
Here, Miss Campbell (left) demonstrates the
intricacies of drawn fabric work, to an attentive
group of trainees at a 1983 Things Jamaica

Two couturieres of excellence were
Yvonne and Joyce Ennevor, who them-
selves ornamented dresses with cut-work,
but who also trained assistants to do so.
Some beautiful dresses entirely of cut-
work have been made.
Perhaps it is through the use of cut-
work by dressmakers for decorating
dresses that Jamaican cut-work has be-
come a distinctive variation of the ancient
Altar cloths and ecclesiastical vest-
ments were among the early articles to be
adorned with cut-work. For three
hundred years, until the 15th century, it

Gold winning bedspread lovingly handmade in crochet, adorns an old
fashioned bedroom.

With the Compliments of



was used almost exclusively in European
convents by both nuns and monks, after
which it was widely practised also at
Court and in castles of the nobility. The
great St. Dunstan designed patterns for
royal and noble ladies to embroider and
on occasion supervised their work daily.
In time, it was used by all sections of
Churches here continued the tradition
of having sacramental fabrics embellished
with elaborate hand work. Ladies educa-
ted in those skills were available to exe-
cute them. Many have given time pleasur-
ably and patiently to this. The Berry
sisters took orders from churches for altar
frontals. Some of these are still used by
St. George's Church. In more recent years,
Miss Dottie Corbett, instructed by Fr.
Philip Hart, embroidered altar cloths
to which her mother added crochet.
Fr. Hart himself spent many years of
leisure time embroidering five extra-
ordinary religious panels. Inspired by
Byzantine iconography, he created his
own images in that manner, working
them in single strand silk threads.
Fr. Hart did not enter an exclusively
feminine domain. In the East, where
some say embroidery originated, men still
embroider exquisitely. In the West, as late
as the sixteenth century, pattern books
were published "for the profit of men, as
well as of women."
Crochet, which is often used to edge
altar cloths, is a simple way of making a
fabric with hook and thread. A number
of women have been artists in this
medium making, in their homes, tea
cloths, table cloths and other articles of
thread-fine filet crochet. Millicent Parkin-
son and Ena Stockhausen nee Clerk were
two of these. Miss Nellie Chin of Port
Antonio, another creative expert, has
crocheted for over 50 years. Mrs. Chin
won a Festival Craft Gold Medal for her
work which includes bedspreads and
vanity sets. Today, one often sees ladies
crocheting in a doctor's waiting room, or
on a bus.

The Clyde Hoyte Training Centre on
Eastwood Park Road trains members in
crochet. Last year, members working on a
co-operative project sponsored by the
Bank of Nova Scotia made a large-scale
wall hanging in filet crochet.
Exquisite crochet, drawn thread and
embroidery have also been made by ladies
lovingly preparing babies' clothes and
christening gowns. These were most often
worked with single strands of white
embroidery cotton and fine crochet
cotton. The excellence of some of these
as well as the loving care lavished on them,
have made them works of art. Ms. Beryl
DePass excelled at these.
Tatting was derived from the art of
knotting during the 18th century. This
delicate work involves the deft co-
ordination of fingers, thread and shuttle.
Though not as popular locally as crochet,
it has attracted a number of women in
both rural and urban areas through the

Altar frontal This sacramental fabric, in use
today at St. George's Church, East Street in

Madiera knitting was introduced to
Jamaica by Portuguese who originally
settled at Duncans, Trelawny. Near the
turn of the century, Miss Dorie Ferriera
at "Refuge" made her living from
luncheon sets and doilets she made with
four long knitting needles and fine
crochet cotton. The pieces are similar in
appearance to crochet and, whether
round or square, appear to be seamless.
This skill did not survive locally but
examples of it are treasured family
Another rare local art which has been,
until recently, exclusive to the family of
Miss Olive Rennalls of Williamsfield, is
needle lace. Miss Rennalls teaches needle
lace in Mandeville.
Early in this century, hand painting on
porcelain was introduced by Mrs. J.C.
Hagen, whose husband was attached to
the U.S. Consulate. For her work, the
Institute of Jamaica awarded Mrs. Hagen

Kingston, is the work of the versatile Berry

With the Compliments of




Early 20th Century straw workers, ply their
traditional trade, in Glengoffe, St. Catherine.
Photo: courtesy National Library.

Goffe. His father and grandfather were
also "J.J." weavers and he has passed on
his skills to his daughters. In 1983, he had
the honour of demonstrating weaving for
H.M. The Queen at Devon House.
Viola Gordon, an expert in jippi jappa
combination lace, lives in Spring Field,
St. Catherine.
Another innovator in the jippi jappa
business who is not a weaver is Mrs. Vera
Mould. For 45 years she has bought and
sold straw products on Harbour Street.
To her knowledge, she is the first person
in Jamaica to introduce raffia embroidery
on straw work, an outcome of her inter-
est in raffia embroidery on canvas. Her
shop was originally Chamberlain's, one of
the two major retailers of straw goods,
the other being C.C. Henriques, who had
a Panama Hat factory and exported hats
around the world.

a Bronze Musgrave Medal in 1911, and
honoured her with a Silver Musgrave
Medal in 1916.
Mrs. Hagen gave private instruction to
three Jamaican ladies: Miss Emma Bynd-
loss, Mrs. Linda Geddes nee Cunha, and
Miss Mildred Leehong. Mrs. Geddes
bought Mrs. Hagen's kiln and she and
Miss Byndloss continued this art for
many years. Exquisite pieces by them still
enhance a few Jamaican homes.
Jippi jappa weaving is a skill practised
mainly in Glen Goffe and adjacent
districts of St. Catherine and St. Andrew
where palms from which the straws are
taken grow along river banks.
The word "jippi jappa" was the name
of a district in the Manabi province of
Equador where the best Panama hats
were made. An account in a Gleaner of
1911 states that jippi jappa hats were
first made in Jamaica in 1839 or 1840 by
a Spaniard who recognized the palm
growing by the Cassava River as the one
used for hat weaving in South America.
Terence Nisbet, a master jippi jappa
weaver and trainer for Things Jamaican,
lives in Mount Florence District near Glen


k o

Glen Goffe straw workers today.

With the Compliments of



Jamaica Welfare's major work in Art
and Crafts was the development and con-
solidation of the straw industry, both the
jippi jappa of St. Catherine and the
thatch and sisal of St. Elizabeth.
After years of decline due to changing
fashions, this valuable industry is being
The practice of these gentle arts has,
on more than one occasion, led to work
in one of the Fine Arts the Royalty of
Crafts. The most outstanding example has
been the renowned sculptor, Alvin
Marriott, whose powerful, prodigious
work spans seven decades. He, when a
child, was taught to weave jippi jappa
hats by his father, who was one of the
leading weavers of Glen Goffe. To this he
attributes the manual dexterity and quali-
ties of character which have made his
dauntless career such a success. He says
"Terrific patience and skill are necessary
in plaitting hundreds of little fibres to-
gether to make a hat. These qualities are
the most essential requirements in a
sculptor's life."
It is evident that the primary value of
utilitarian hand-work has not been solely
functional; nor solely in its beauty which
has enhanced each appreciative mind. It
has been rather in the making of the
objects. Awareness aroused by a craft's
exacting technical demands; composure
which, necessarily, comes from concen-
tration; benign, self-imposed discipline
which accuracy requires; talents develop-
ing through daily practice. This amalgam,
quietly fused over centuries, has enriched
the Jamaican people, has cultivated in
them talents and virtues which have in no
small way contributed to our present
astonishing cultural dynamic.

"Are You Hooked on the Crochet Bug?"
Sunday Gleaner Magazine, Feb. 10,
Cave, 0., Cut-Work Embroidery and How
to Do It (Dover, New York, 1963).
Freemantle, A. and Eds. Time-Life Books,
Age of Faith (Time-Life, N.V.).
Hale, J.R. and Eds. Time-Life Books,
Renaissance (Time-Life, N.V.).
Jones, A., "The Panama Hat Origin and
Manufacture in Jamaica in the Early
20th Century" (National Library
Files), 1976.
Jones, M.E., A History of Western Em-
broidery (Studio Vista, London, 1969).

"Banana Man" Alvin Marriot
c. 1955 Manogany 23%"
Collection: National Gallery, 1984 purchase

Palliser, F.B., A History of Lace (Tower
Books, Detroit, 1971).
Read, H., To Hell With Oulture.
Swain, M.H., Historical Needlework; A
study of influences in Scotland and
Northern England (Barrie & Jenkins,
London, 1970).
The Gentle Needle Arts, Marshall Caven-
dish. London.;
The Holy Bible, King James Version.
The Oxford English Dictionary, Compact
Edition, Vol. 1, Oxford Un., 1971.
"Tradition of Jamaican Embroidery,"
Sunday Gleaner, June 25, 1961.


an overview of major practitioners and institutions.


Clay formless by itself, yet ready to
take almost any form demanded of it;
abundant and cheap, yet objects of great
value may be made from it. After
centuries of serving man, it is still capable
of providing fresh inspiration. Clay is
direct, with no brush to get in the way,
clay must be worked with the hands -
pushed, pulled, and squeezed. It is spon-
taneous and responsive, yet demanding
of great skill and technical mastery.

Paul Rayar

CERAMICS the art of clay and glazes
is an appealing and fascinating craft, one
that has attained steady growth in public
interest over the years, not only as a
craft, but as a tradition to appreciate.

Clay is the most ageless of materials.
Clay is spontaneous and responsive, it is
abundant and cheap. A natural earthly
material, clay is derived from the disinte-
gration of granite and other felspatic
rocks. Nearly all clay contains impurities
and it is these impurities in the basic
formula that account for the different
characteristics of the numerous clay
Jamaica has abundant clay resources,
most of which are located on alluvial
plains, i.e. deposited by action of waves,
and water, e.g. rivers. Most Jamaican
clays are of the earthenware type which
are rich brown in colour and fire to a
terra cotta red. This is the type used in
brick making in Jamaica. The bulk of
earthenware clay is from Kingston and
St. Andrew which comprise the Liguanea
Plains. Clay reserves in Jamaica are esti-
mated to exceed 250 million tons.

Master Potter, Cecil Baugh, has been
widely recognized as the pioneer of
modern ceramics in Jamaica.
A Portlander from Bangor Ridge,
Baugh became conscious of the art of
making pots as a young boy while living
in what could be called a "folk villa" on
the Long Mountain Road (now Mountain
View Avenue). At that time, the era of
8 traditional pottery making in Jamaica,
Baugh became exposed to men and

Cecil Baugh master potter, prepares his clay
with vigorous kneading.

women (particularly women) crudely pro-
cessing native clay and making among
other things, yabbas, water jars and
flower pots. He was later to become a
member of this group. At that time there
was a good market for pottery that tend-
ed to imitate rather than interpret new
form and design.

"Two-Lipped Vase" Cecil Baugh

Baugh began to experiment and to
make his own wares, using the coiling
method. There were no potters' wheels
then; Baugh remembers only one being
on the island in the late 1920's. He
remembers too, when pots were being
sold for one penny each and that only
five persons came to his first exhibition
in 1950.
In 1936 Baugh met and became asso-
ciated with Wilfred Lord and together
they established the Cornwall Clay Works
in Montego Bay. From Lord, Baugh ac-
quired the skill of firing and kiln building.
This partnership, however, was short-lived
as six months later, Lord returned to
Kingston. A determined Baugh continued
in the business until 1941.
By this time, Baugh began to feel the
need, for formal technical training. He was
soon to be given that opportunity.
In 1948, not very long after he had
returned from the 1939 war, Baugh
received a scholarship through the British
Council and went off to study with the
eminent English potter, Bernard Leach
and his wife Margaret at St. Ives, Corn-
wall. This scholarship was the result of
Baugh's participation in an exhibition at
the Institute of Jamaica. Much interest
was shown in his work, particularly by
the British Council's representatives in


Jamaica who offered Baugh the scholar-
ship. It was here that his already moulded
career began to take shape.
In England, Baugh was exposed to all
facets of pottery, all the technical train-
ing usually reserved for apprentices -
kilns, types of firings, glazes and clays;
his mastery of these various processes is
fully manifested today by his mature-
sense of glazes and his intimate know-
ledge of clays. His keen sense of humour
was already evident too in his sculptural
forms, the decor, and quite often, in the
titles of his work. He had in England -
many exhibitions, workshops, lectures
and demonstrations to his credit. These
included a group show of international
ceramics at the Victoria and Albert
Museum in London in 1972.
Cecil Baugh returned to Jamaica in
1950 and soon after witnessed the birth
of Jamaica School of Art and Craft (now
Jamaica School of Art) under the di-
rection of Mrs. Edna Manley. He imme-
diately became a part of this vital institu-
tion and remained there as ceramic tutor
for 24 years. He taught many of today's
outstanding young potters; some have
returned to share exhibitions with him.
Baugh now speaks with fondness of many
of his pupils and potters, and has taught
at many schools, including Mico College.
High critical commendation and praise
has been accorded to Baugh's work, be-
fitting the many honours and awards he-
has received. Two of the more recent
ones include the national honour award
of Order of Distinction in 1975 and the
Norman Manley Award for Excellence in
Apart from his proud association with
Bernard Leach, Baugh takes great pride in
the fact that he had the opportunity of
meeting with Shoji Hamada, one of
Japan's "Living National Treasures,"
when he visited Shoji's home in Japan in
Today many professionals and
students follow his lead. The Jamaica
School of Art, Cecil Baugh and others
have pioneered the foundation of modern
ceramics in Jamaica.

Louisa Jones affectionately called Ma
Lou, is among the eldest of our practising
potters producing hand-coiled traditional

Ma Lou absorbed in the finishing of her work

Born 68 years ago in Winter's Pen,
St. Catherine, she now lives and works on
Job Lane in Spanish Town.
Ma Lou's style of pottery is somewhat
primitive; she never learned to use the
potter's wheel, neither was she trained in
the more technical aspects of pottery,
except what she observed, as a child,
from an aunt and uncle. She grew up
sharing her family's enthusiasm for
pottery. Her style however, typifies the
old West African technique a style
which surfaced in the early sixties when
Nigerian potter Ladi Kwali demonstrated
its technique in London and the United
Ma Lou's tools are simple: part of a
broken pot which she calls a 'keke' and
which she uses on the ground directly in
front of her as a wheel, a piece of calabash,
a spoon and a worn smooth stick for
smoothing, and a bowl of water in which
to moisten her fingers.
She begins the creative process by
squatting on the ground and readies her
clay by wedging breaking off pieces of
clay and slapping them together again. A
large coil is then shaped which she uses to
form a base or 'bottom piece.' Next, she
seats the pot base on the keke and while
she turns it in the motion of a wheel, she
proceeds to build up the pot sides by
constantly adding and pressing on newly
formed coils while turning the keke. In

the final stages, prior to forming the lip
of the pot with her forefinger, Ma Lou
uses a wet cloth to smooth the form.
Ma Lou works briskly and in little
time her wares which include yabbas,
monkey jars, coal stoves and cooking pots,
are ready for trimming, drying and firing
in an open built-up wood kiln.
Ma Lou and her pure and primitive
style of pottery are important to our
culture and the preservation of our
Of the most outstanding names in
contemporary ceramics today, almost all
have come under the tutorship of Cecil
Baugh at the School of Art. These include

GENE PEARSON who has had many
exhibitions both locally and overseas.
Over the years, Gene's work has matured
into a style of its own with the conscious
or unconscious influence of West African
art forms.

"Head" Gene Pearson
1983 Clay 16" collection: Harmony Hall

taught in many schools and has adjudi-
cated Festival Art Exhibitions over the
years. Her own company- Studio Potters,
was launched in 1975. Jean's work is
almost exclusively for household use;
mugs, jugs, vases, teasets. Jean is an active
member of the Small Businesses Associa-
tion of Jamaica.
well known for her modern forms and
attractive matt glazes. She teaches part-
time at the School of Art and works out
of her home studio producing jars, tiles,
murals, and other ceramic items. She has
had many exhibitions, held many work-
shops and has won a number of awards
for ceramics.
PHILLIP BRYAN has been teaching
Art at the St. Jago High School since
leaving the Art School, as a ceramic
graduate in 1967. He has had many exhi-
bitions and has won awards in Festival.
production potters known as the Clonmel
Potters operating out of Clonmel, St.
Mary. Their emphasis is on stoneware
production and their output consists
mainly of utilitarian items, plates, bowls
and jars, usually motifed with care. Both
potters were teachers at one time and
Donald has worked as technician at the
DAVID DUNN studied with Donald
Johnson and went on to tutor at JSA
He has a penchant for sculpture and is
inspired by the work of Gene Pearson.
David's work is quite often decorated
with slips and carvings.
PETER CAVE has been a resident
potter in Jamaica for many years. He is a
specialist in slipware and produces highly
decorative pieces. His products range
from jewellery to pots, to boxes covered
in gold lustre and embellished with eight-
een century and nineteen century Japan-
ese decoration. For many years, he
worked with Things Jamaican as Adviser
to the Ceramic Department.

contributed immensely to the develop-
ment of ceramics in Jamaica. For many
years they lived in Jamaica producing fine
ceramics from their home studio in High-
gate, St. Mary. Their contemporary ideas
and innovative designs became very
popular among the Jamaican clientele.
The Todds now live and work in Costa
Other Practising Potters on the local
scene include LAURON BACHAN,.

The Spanish hero" David Dunn
1984 clay, slip and glaze 124"
Collection: the artist


"Stone ware" Donald and Belva Johnson
(The Clonmel Potters).

n~ 3~ow

~/~ie4~t 16roa,cer~ a




MM GISHIT_________



In 1979 Ceramics was for the first
time introduced into the Annual National
Exhibition along with the other art forms
of Drawing, Painting & Sculpture; in
1981 the N.G. mounted an important
retrospective of Cecil Baugh's work,
further underscoring the stature of the
man and the art.

The Jamaica Cultural Development
Commission has helped to forefront
Jamaican ceramics over the years. They
have offered many skill training work-
shops around the island in which pro-
fessionals have worked to up-grade
ceramic skills; the Commission have also
featured ceramics at both amateur and
professional levels in the annual Festival
of Arts.

Jamaica School of Art has had a very
special place in the development of the
arts in Jamaica. Year after year the school
has offered creative learning in the major
areas of art and craft drawing, painting.
ceramics, sculpture, graphics, jewellery.
textiles and education. Jamaica School
of Art, the nucleus of art training in this
region. continues to play a vital role in
t'ost erig the development of a .,

Mrs. Sally Asher has singlehandedly
for many years staged the Devon House
Craft Fairs. Potters have always been
invited; some demonstrate and others sell
their wares. In the promotional and
commercial area these fairs have helped in
the development and popularization of
ceramic art in Jamaica.


The Scientific Research Council has
been a major researcher into Jamaican
clays and raw materials. They have been
able to produce, at the laboratory level,
standard ceramic floor tiles, decorative
wall tiles and refractory bricks with local
clays and related materials.
They have explored possibilities for
large scale production of ceramic sanitary
wares and electrical porcelain which can
be manufactured by slip casting local clay.
The Council has offered their services
to Jamaican potters, potteries and institu-
tions in terms of analysis, formulation,
research, supplies and information. They
have undertaken a number of clay and
raw material resource surveys at ditTerent
areas of the island with a view to provide
sufficient information to foster the
planning of long-term commercial ex-
ploitation of these resources,

Things Jamaican Limited is the largest
manufacturers of commercial ceramics in
Jamaica. It handles the bulk of local
consumption and supplies the tourist
The Company, incorporated in 1968,
was the brainchild of the Hon. Edward
Seaga; it was dedicated to reorganizing
craft development in the island, pro-
moting research and design, and operating
successfully at a commercial level. Things
Jamaican has developed and reproduced
various lines in ceramics over the years,
two of which include the Port Royal
Line and the Seville Line; respectively
they reflect the Buccaneer and the
Spanish. The Company has also de-
veloped small hand-sculptured figuerines,
some to reflect an ethnic flavour which
have become very popular.


Clays of Jamaica, formerly Aiken's
Clay Works, is situated on the Molynes
Road in Kingston. They produce flower
pots, bricks, Spanish jars, figuerines, etc.,
using local earthenware clay and were, in
the first decade of this century, pro-
ducing award-winning items in clay. The
Company is now managed by Marcia
Vidal, a ceramic graduate of the School
-4 A-.

A i,- 4 s f ;v lTg 7' mTJ Azfwwx a-vtse-
5inwa iktud^i " AkegiM h'w rmaeissRf^e ;fe'
Aie: Royw szi: 3::J=; ?i" :' -:4


With the Compliments of





Rosalie Smith-McCrea talks with David Boxer
about his Cabinet of Mysteries commissioned
by the American Ambassador William Hewitt
in 1983 -
Arts Jamaica thanks Ambassador and Mrs.
Hewitt for their kind assistance in the photo-
graphy and preparation of this interview.

RSM: The gold- leafing of this cabinet
seems to me to add to the
dimension of the tradition of
altarpieces. There is that latent
reference to an altar. .
DB: Yes, it is a reliquary to Diana. The
gold adds to that, and is symbolic
of Appollo. There was an Appollo
sub theme which was edited out,
scrapped because one day I
do see myself doing an Appollo
RSM: That is another autonomous work?
DB: A twin work almost, which I
would like to keep. I've grown so
in love with Diana that I'd like to
do one of Appollo for myself, so
the gold symbolizes Appollo.
There's also another tonality
which interweaves the blues,
blacks, and whites which evoke
the moonlight of Diana herself.
So when you open the box, the
panels on the outside have Diana's
colours. Then you have interweav-
ing of the gold, and you come
back to Diana's colours in the
RSM: Which is all very integrated. .
well thought out ...
DB: Well, it's a matter really of trial
and error, too; a lot of things had
to be changed as I moved along.
RSM: This cabinet too, I feel, is also
concerned with Ritual.
How do you see yourself in
relationship to the now dead
American modernist, Cornell,
whose work also concerned with
ritual has influenced yours ?
DB: The element of Joseph Cornell's
work that attracts me most is
exactly as you describe its nos-
talgia. He falls, metaphorically, in
love with, say, a particular
ballarina. He creates a box en-
shrines her memory or elements,
what she means to him, in a little
box. He does the same with a
film star Lauren Bacall, for
instance. Or, he might go to the
12 Renaissance and take a Medici
princess and create essentially a
reliquary to her.

The personal meanings of these
boxes are never quite clear to us,
and 1 think that is the power of
them. Cornell would never stop
and explain one of these boxes.
He has assembled, in a dream-like
fashion, images that evoke that
person, that presence, but in the
same way that we can't explain
our own dreams, I don't think
Cornell could explain his own
boxes. Similar, there is a lot
about my own boxes that I can-
not explain. I don't know, for
example, why I wanted three
Graces looking after Leda's two
eggs. I am sure there is a reason,
but I don't want to go too much
into it while I am creating. After-
wards, when it's done, separate
and apart, then, I start to look at
imagery, say, now why does this
keep coming up. . two orbs,
sometimes sliced, sometimes eggs,
sometimes testicular. This is
repeated constantly in this box,
and has been in a lot of my recent
There is a lot in the box that is
conscious, a lot sub-conscious,

and I allow the two to interweave.
RSM: Having said all this and observing
that much of your iconography,
much of your allusions to history
are European, and stem from a
European base How do you
David Boxer, see yourself in terms
of mainstream Jamaican art...
Is there such a thing as Jamaican
art? I was just reading an inter-
view by Peggy Rothchild with
Eugene Hyde who was very
skeptical about this whole notion
of a Jamaican art a style that
was Jamaican. For Hyde, the only
thing American about American
art was Abstract Expressionism.
DB: Quite frankly, Rosalie, even
before I came back to Jamaica I
was one of those people who
tried to break down these national
There is a Jamaican art, and that
is the art produced in Jamaica; I
would be the last one to want to
limit it iconographically. We have
a Kapo dealing with specific
elements of our culture; we simi-

Diana and the Stag: Acteon's spirit returns to
haunt the Goddess, she turns away in revulsion
but finally succumbs to the stag's gentle nuzzling
and the excitement tof the embracing stag horns.


"The Diana Cabinet of Mysteries"
David Boxer
1983/84 mahogany cabinet with
found objects, mixed media app. 5' 4'
(above wings closed/below wings open).
Collection: AmbassadorandMrs. William Hewitt

larly have a... Boxer dealing with
other elements of our culture. We
cannot get away from our
European past, nor would I wish
to get away from our European
past. Reggae is very important and
Bob Marley is very important to
some Jamaicans. Beethoven is
extremely important to me, and
to some other Jamaicans, and is as
relevant for me, a Jamaican, as is D]
Bob Marley. R

I'm very pleased when we have
things that are born in Jamaica. A
Kapo could not have developed
anywhere but Jamaica. I, in fact,
think that makes himunique, but
I don't think that that makes him
anymore Jamaican than people
drawing on their European
I happen to have a lot of Euro-
pean blood running in me and I
have a lot of African blood, and I
have not denied either. There are
many works that draw on my
African heritage; they may not be
well known; there's a whole series
dealing with colonization in which
I use a lot of African elements
integrated into the British Palaces
a collage series. There are ele-
ments drawing on Jamaica and the
Caribbean... I don't want to limit
myself iconographically or stylisti-
cally to Jamaica and I don't think
that any serious Jamaican artist
would want to do that.
SM: I'm going to use a quotation here..
---"An infinity of atmospheres
within a small space holding
captive a moment of time."
This is how it seems to me we can
also describe A Cabinet of
B: 'Is this referring to Cornell?
SM: Yes. . For the entire Cabinet is

adorned, articulated by panels,
collage boxes recesses of
Baroque light and shadow, a chair-
oscuro that imbues the work and
sustains a subtle element of
theatre. This work cannot be com-
prehended in one sitting nor really
embraced in one interview.
DB: That is my intention really, to
hold one's interest, to explore the
box; one doesn't look at it and
move on. Go into a gallery and
you see people who take in a
work in a single glance. It takes
them longer to read the label that
it takes them to look at the actual
I want them to stop! And I think,
quite frankly, that a gold cabinet
wouldstop you- you're dazzled -
you look and then you say, well
then what more is there to this
thing? You stop, you explore, you
open a door; there are more doors
to open within doors as you ex-
plore, you find out more about
the central theme. This has always
been my intention -
The Cabinet which in fact sparked
the commission is the Magdalene
Cabinet. There one explored a per-
sonality the personality of the
Magdalene, by opening doors of

The Race of Atalanta: Atalanta is derived from
Diana One of her many guises. An almost
musical juggling of the spatial elements of
Guido Renis painting propels us into the
Diana-Trauma where she is challenged by
Apollo (her brother) who tricks her by offering
her twin apples/golden balls/testicles. The
sexual ambiguity is heightened by her own
transformation, as she stoops to secure the
second ball, into a purely female/egg form.
RSM: Where do you go from here
David? With this work, the
viewer is still the main subject,
the protagonist confronting a
creative work of art, the object
which of course can be read, and
which assumes different dimen-
sions, different interpretations.
Do you think that in the future
you will explore the possibilities
of object and viewer exchanging
places? The viewer actually walk-
ing into collage environments and
becoming part of the object!
DB: Well, that's really begging the
question. I think Rosalie you
know a little bit about my plans...
This particular box, I think the
base anticipates the next work...
the base with the mirrors... You
look into the mirror, and you
see the reflection of yourself from
another mirror. You see a totally
different view of yourself than
you're accustomed to seeing in a
mirror. You're not seeing your-
self. It's very interesting, because
the mirrors are placed at certain
There is a giant work in my head,
It's the sort of work however that
needs a lot of money to put to-
gether, and time neither of
which I have.
RSM: And a wide variety of materials?
14 DB: Well, quite frankly, the materials
come, and I would create out of

anything. I enjoy being without
art materials, in a hotel in Amster-
dam for instance and starting to
create with shoepolish, toilet
paper or something. I like those
sorts of challenges. I think they
are just as valid art statements
and sometimes they can really
stretch you.
I've done works from borrowing
nailpolish from somebody and
working; even once, in Washing-
ton, creating a whole series with
nothing but some reproductions I
happen to and some nailpolish
remover, because I didn't have
any nailpolish! I remember doing
a whole series like that; so that
one would create whatever the
restrictions on the materials. But I
do want to create a work that
people will walk into a room,
really, not a Cabinet, of Mysteries,
The theme that I have in mind is
the confrontation of two of my
themes two themes that have
haunted me for a long time.
The Magdalene theme, in which
I incorporate all sorts of ideas
about woman, and the Beethoven
theme, in which I deal with the
creative genius, the creative mind.
Somewhere, I want to see the Mag-
dalene entering Beethooven's
This work I've already planned
elements of; the Magdalene box is
going to be a part of that; I've
also done a vertical Beethoven
box which is going to be a part of
this there are many, many
aspects that I need to get to work
on. There will be whole walls of
collage. There will be cabinets; the
roof will be a collage, the floor,
perspex. You're to walk on, and
look down into another dimen-
sion. I also want to use all my
areas of interest in this one work.
There is sound in the Requiem
box but it's not music, it's the
'beep' of an electronic time piece.
I've speeded up time there and a
day goes by in about a minute,
and you hear beep that's it!
(In fact, I want to add to that
work, the sound of innumerable
clocks ticking.)
I'd thought of music for the
Diana box, but then I thought it
was wrong; for me, the work it-

self was totally musical. I had in-
corporated into its structure musi-
cal elements. I give an example,
the lower box of Diana, the hunt-.
ress in the underworld; here you
have all these vertical elements,
regular rhythms, and you have
the horizontal decrescendo, des-
cending scale of shells as a con-
trast. I feel very much in musical
terms like this...
In this grand opus that I want to
do, the mannekin would be used
for the Magdalene; and I'1 let you
into a secret. Diana was originally
going to be the mannekin to be
used for the Magdalene, but I
couldn't find another, so I had to
steal the Magdalene and convert
her in the final shrine into Diana.
The Magdalene will be there, in
Beethoveon's studio. So these two
themes, Beethoven and the Mag-
dalene will meet and something,
I'm not sure what, will happen
to bring the third protagonist,
the viewer, into this world.
I want to use video in that
box video screens, perhaps
small images with Beethoven
sounds other sounds. I want to
use all sorts of things but I
really can't describe it until after
its done for things do change as
you begin to put it together.
RSM: Just from what you describe it
would be a very imaginative effort
unique and very distinct in
the contemporary mainstream
DB: I am concerned with the opening
up new worlds I don't like
repeating myself I don't form a
style and sit comfortably in that
Each painting each collage, each
box is for me, breaking ground ex-
ploring some new idea or there's
simply no point in doing it.
RSM: A different experience.
DB: Yes, I am exploring my own
RSM: Thank you David, it's been very
meaningful. ..

t --

the twin hands of the artists conviction
and imagination weave a spell -



When Thomas Theophilus 'T.T.' Jack-
son died in September 1983 Jamaica lost
one of its truly outstanding artists and
the craft of furniture making one of its
great practitioners.
Very few men become legendary,
when their accomplishments are
measured against the harsh perspective of
history. Far fewer ever become legends in
their own life time. T.T. Jackson achieved
both distinctions for he was a legend in
his own life time.
The fact that he lived and worked at
his craft right up to the end of his life, at
age 95, might have contributed to his
becoming a legend. But, a long life by
itself would have guaranteed him only
notoriety. What made him a legend was
that he was a man of excellence, that the
constant pursuit of excellence was the
hallmark of his life.
T.T. Jackson was a master craftsman,
and in his chosen field, the art of making
exquisite furniture, he not only excelled,
but, dominated the field in Jamaica for
over sixty-two years.
He was an artist in the truest sense of
the word, if we accept the definition of
an artist, as one who makes his craft a
fine art. Anyone who has observed the
intricate patterns of the in-laying done by
Mr. Jackson, the symmetry of the piece
and the fine attention to detail, could not
but conclude that what they were viewing
was indeed a work of art.
Another distinguishing feature of the
true artist is the joy, the sense of achieve-
ment and personal satisfaction and fulfil-
ment that they derive from their art.
Mr. Jackson, obviously derived a tre-
mendous amount of self satisfaction from

his craft. On several occasions I have seen
him beam with pleasure as he displayed a
piece of work that he had just completed.
A pleasure which often seemed to surpass
that of the purchaser of the piece.
A true artist has a fresh and enquiring
mind, ever aware of new trends and
nuances. 'T.T.' was very up-to-date, keep-
ing himself informed through books and
magazines of what was happening not
only in his field, but, in the world around.
In fact he was so up-to-date that his
prices were in keeping with the times.

T.T. Jackson first learnt the art of
cabinet making as a young apprentice to
a Scottish firm, Kearn Brothers, who did
the fittings for the Holy Trinity Cathedral,
erected at the turn of the century. When
he left that company after several promo-
tions, it was to set up his own furniture
making business. After a ten year stint in
Cuba, where, he developed his skills with
the many European craftsmen who then
operated in that country, he returned to
Jamaica to re-establish his business.
It is said that craftsmen from around
the city would come to stand outside his
shop at Mark Lane to look and marvel at
the quality of the work that was being

e icorin retnmier T. T. Jackson

Recognition came from all quarters.
When furniture was required for the
capital of the ill-fated West Indies Federa-
tion in Trinidad, the original idea was to
commission furniture from the United
Kingdom. But, the late National Hero,
the Rt. Excellence Norman Washington
Manley, assured his fellow West Indian
leaders that Jamaica had craftsmen who
would be able to produce furniture of the
required standard. T.T. Jackson was to
make many of the pieces.
In 1962, when Trinidad and Tobago
became Independent, it was to Mr. Jackson
that the Jamaican Government went to
commission two throne chairs that were
presented as a gift to our sister island for
use in Parliament.
The Institute of Jamaica, which recog-
nises outstanding contributions in the
Arts through the Musgrave Medals, award-

ed him a bronze medal for furniture
craftsmanship in 1945 and thirty-five
years later in 1980, awarded him a silver.
His artistry by itself would hardly have
won him the recognition that he received.
What also contributed to earn him a
place in our history is the fact that he was
a prodigious worker. Six days a week he
was busy at his work bench, practising his
craft, making not only new pieces, but
restoring others, some of which were his
own work from earlier years.
His life was one of tremendous accom-
plishment and the extensions of himself
represented in his masterpieces, such as.
the pulpit and the fittings of the St.
Augustine Chapel at Kingston College,
will live on for many years.
He has left behind a rich legacy in the
beautiful works that he has done and
which grace many homes, both here and

abroad. He has left a rich legacy in the
number of craftsmen that he has trained.
He has left a rich legacy in his commit-
ment to hard work and excellence. And,
he has left a rich legacy by his artistry
and by awakening us to the fact that we
too have the capacity to fashion items in
wood that can rank with the best in the

"The dedicated man embodies an enduring
meaning in his way of life, and thereby the
world is formed. In that which gives things
their duration we can come to understand the
nature of all beingsin Heaven andonEarth."
I Ching-Heng/Duration
"Yesterday's artifact or utilitarian object
has become today's work of art".
J. Carter Brown,
Director National Gallery
of Art, Washington, D.C.

Karl Gerry Craig is an artist who has a
way with colours, and an unerring empa-
thy with the fundamental principles of
drawing and design. Adaptable, Gerry is
as easily at home landscaping a garden as
he was as administrative head of the
Jamaica School of Art for ten years. In
an interview at his home in November
1983, Gerry could be seen working on a
textile design which incorporated a quan-
tity and variety of natural fibre, carving
a door for Morgan's Harbour Beach Club
and preparing for the exhibition of paint-
ings and prints at the Mutual Life Gallery
entitled "The Awakening".
Upon completion of his Fine Arts
diploma in London, Gerry made his first
attempt to settle in Jamaica. He returned
home, worked at Arts and Publicity and
held his first one-man exhibition at the
U.W.I. He returned to London in 1958
after the tremendous Marakeesh project
which he undertook in textile and paint-
ings soured and he lost a good deal of
16 money.

Gerry Craig with a work

from his latest

With the Compliments of


FLI^ b



Study and Sojurn Abroad
During the early sixties life went well
for Gerry in London. He headed the Fine
Arts section of CAM, a Caribbean Artist
Movement at the West Indian Student
Centre in Knightsbridge. He arranged the
first exhibition of paintings of 'other
works' other than those of Members of
Parliament in the House of Commons.
Slowly, he began to develop a reliable
reputation as a successful illustrator and
his textile designs were accepted by large
firms. He freelanced, did illustrations and
taught in a Comprehensive School in
Eltham Green, worked at a training
college Avery Hill, for seven years and
was a London University examiner.
Between 1971-1981 while he was
principal of the Jamaica School of Art,
Gerry saw a great many changes. Before
the J.S.A. was moved to Arthur Wint
Drive in the Cultural Training Centre
complex, the spread of studies were
located in two areas ..... "In downtown
Kingston the 2-D (drawings, painting,
graphics) section was at the North Street
and 3-D section (sculpture, ceramics)
was at the DaCosta Institute in Kingston
Gardens." Gerry recalls.
Ten Years at The JSA
The challenge of the (JSA)
Jamaica School of Art to upgrade its
curriculum was incorporated in two stages
at five and ten years intervals. With the
help of the Private Sector textiles and
jewellery were introduced. Art History
and Art Education were necessary so that
the community could relate to artists and
their works and to strengthen arts taught
at various levels in secondary schools
where the budget was always at the
Curiously, Gerry's position as adminis-
trator of the Jamaica School of Art dates
back to 1958 when he arrived in London
from Jamaica. He remembers having
lunch with Vera Moody at a Picadilly
Circus Cafe called Trocadera. Vera was
Norman Manley's sister and head of the
Jamaica School of Art and she wanted
Gerry to return to the island to take

-.w. -~ -~

- .

"The Awakening" (Series)
Karl Caig.
1982/183 acrylic on canvas

charge of JSA. At the time Gerry de-
clined, he recommended Barrington
Watson who had recently graduated and
was returning to Jamaica. Gerry promised
Vera Moody that he would return eventu-
ally to Jamaica and head the art school.
Shortly afterwards, Vera Moody died in
an awful accident.
"The first experimental group which
graduated under the new curriculum
was in 1971; Stanley Barnes, Eric Cadien
and Laura Facey were among those
graduated," said Gerry.
"When we moved to the CTC site in
1976 we upgraded the qualifications
for entering the school for the Diploma
and Certificate students. This included a
more comprehensive History of Art
course with a wider selection of slides,
Psychology, African Art, Caribbean
Studies with Professor Rex Nettle-
ford and Theatrical set design."
Gerry Craig took study leave in 1980
and completed a MFA degree at the
Maryland Institute, normally a two year
course, in one year. He returned in 1981
as a consultant for the Caribbean for the
Organization of American States.
Seconded to Things Jamaican as Director

of Development, Gerry worked with a
team of designers UNIDO consultants to
develop Devon House complex as it is
today. During that time he also worked
with Pat Stanigar and Hestor Rousseau on
the Seabed building and was responsible
for the craft input used in the interior
"The Awakening"- sources of inspiration
"The Awakening..." did not have any-
thing to do with symbols of any political
party," Gerry explained. 'The Awaken-
ing' was not a religious theme, it had to
do with an experience of mine. Leaving
Jamaica on a banana boat to England, I
went below deck and, looking through
the porthole, saw Jamaica going away.
The thought which struck me was, 'This
land is mine'."
"I had the usual upbringing of people
of my age that taught that England was
the motherland However as I
watched the island go further away, it
occurred to me at that very moment that,
'what I did from now on with my life
mattered'. And, the realisation of this
land to me, was my awakening."




Qum&ff tor





The "Seabed Building" on the Kingston
Waterfront opened in February 1983, and
stands as the newest, grandest testimony
to the dexterity of Jamaican craft work-
ers, and the richness of their heritage.
Every item of furniture, every wicker
basket, every clay lamp, the macrame
walls and every other item of craft inside
the Conference Centre reveals . "the
happy integration between modern archi-
tecture and traditional craft". It has also
created some new ways of utilising that
In the roof of the entrance hall, as
indeed in the roof of all hallways and
lounge areas, are some of the most ele-
gantly designed wicker baskets.
There are three thousand, one hundred
and twenty-five (3125) of them; all the
same shape, all the same size. They have
been stuffed with acoustic tubes thus
making them functional as well as decora-
tive. An ingenious mix of technology
with a nice Jamaican face.
The baskets were commissioned
through Things Jamaican Limited and
provided employment for over one
hundred people, mostly in the parish
of St. Elizabeth.
Mrs. Sonia Gallimore of Things Jamai-
can Limited is "profoundly happy that
traditional Jamaican Craft has been used
in this way. It is a marvellous way of not
only demonstrating the high quality of
local craft but the various ways of utiliz-
ing the material".


Jamaica Conference Centre: Eitry Plaza with
Jamaican Coat of Arms. . %
The imposing entrance to "Seabed" boasts an
Entry Tower, with a tall-standing golden Coat-
of-Arms. The stone work throughout the Entry
Plaza is limestone, quarried in St. Th and
painstakingly "dressed" by mast masons
drawn from throughout Jamaica.


Who would have thought of cassava
sieves for making bammies as decora-
tive items? Yet six hundred of these have
been used as "one way of reminding dele-
gates that they are not in Geneva or New
York, but in Jamaica". That's the view of
the Project Manager, Mr. Errol Hewitt on
the cassave sieves, many of which have
been placed in the roof of the Harbour
The Conference Centre has five con-
ference rooms and three caucus rooms
each revealing a different aspect of
creative genius which went into the con-
ception and execution of the entire
construction. It could be inside con-
ference rooms 4 and 5, where the ceiling
panels are made of sisal where it
became necessary to use plyboard it was

The first floor Cafeteria.
In the airy foliage-filled
cafeteria, overhead
acoustic baskets, made
of the woven bone
of Big Thatch by
craftsmen from
St. Elizabeth and capped
by Things Jamaican clay
rosettes keep dining
oises to a minimum.

sprayed with cement. It could be con-
ference room number 2 where, in addi-
tion to the wall specially made of bull-
rose clay bricks there are light diffusers
made of wicker.
It could also be conference room
number 3 where the barrel-shaped bam-
boo roof soothes and compliments the
light and dark mahogany desks, chairs
and other furnishings.
The bamboo roof is the creation of
Architect Pat Stanigar who wanted
something which would have been in
keeping with the original shape of the
building. Conference room 3 was once
the warehouse of Lascelles and Com-
pany, and was constructed in 1908. The
Architect opted to retain the structure
which was in good condition.
A sea theme runs throughout the
centre in accordance with the purpose of
the building. It is present in the "waves"
in the woven fibre along the walls in the
main lobby; it is there in the wall of
carved wooden fish in the Garden Dining
Area; in the Ceramic insets done by
Norma Harrack for the Coffee tables in
the Harbour Lounge; the collages done
by students of the Jamaica School of
Art for the caucus rooms; as well as
the huge Batik works done by Dawn
Scott and Muriel Chander. It is also
present in the baubles in the macrame
which represent the sea urchin with the
spikes removed a Gerry Craig idea.
Karl "Gerry" Craig was Craft Consul-
tant, while Hestor Rousseau functioned as

the Interior decorator consultant during
the eleven and a half months of the
massive undertaking of Seabed. He said
"the final aesthetic is as a result of people
who work well together, of incredible
work, hours of consultations, of work
going deep into the night. For example,
the single design of the baubles for the
macrame was chosen from twenty-four
which were submitted; the design for the
lamps was chosen from six; the acoustic
baskets chosen from eight..."
The final aesthetic required the best
brains and hands in the business to test
their creative prowess as well as to apply,
on a scale as never before, scientific
know-how to their art. Mr. Craig ex-
plained that in the manufacture of the
clay ashtrays for example, the shrinkage
rate caused by firing had to be calcu-
lated just right so that all the ashtrays
would fit exactly into a pre-determined
space. In the case of the ceramic lamp-
shades, fifty of them were made when
it was discovered that the size of the
holes in the sides was not what was
required. Gerry Craig himself spent hours
beating out a fish in copper as an idea
for the fish wall in the Garden Dining
Area, and after consultation decided to
use wood instead.
The overall benefits .... the decision
to use Jamaican Craft in the Seabed
Building have been tremendous. There
is the obvious foreign exchange savings.
In the area of the acoustic baskets, Things
Jamaican Limited received its largest
order to date for one single item. There
is the provision of employment for thou-
sands of craft workers through Clays of
Jamaica and Things Jamaican. A new
group of trained people are also now
available, who can be utilized for similar
undertakings; many of those (40-50)
who worked on the macrame for the
building were specially trained.
The one or two people remaining in
St. Elizabeth who knew how to make
cassava sieves, in training others to do so
for the project, also rescued a disappear-
ing aspect of the heritage.
When you leave the Seabed Building
contemplate the huge octagon on the wall
which declares "one one coco full
basket". It lists every one of the over
three thousand names companies,
executives, artisans, workmen and women
- who made their contributions to this
splendid building of which all Jamaica
can be justifiably proud. Story Credit.
Things Jamaica Ltd.

There really is very little available
history of the Festival Movement in
Jamaica. As often happens with pro-
jects of this kind, they seem to develop
so fast and require so much on-going
activity that somehow the detailed docu-
mentation is somewhat diffuse.
When I was handed this assignment I
did not know where to begin, but a
chance remark by Rex Nettleford
brought me to the realization that a key
figure in the origins of Festival was none
other than the gentleman often affection-
ately referred to as "the Cecil B. deMille
of Jamaica," the producer of spectacles
and the spectacular particularly Cari-
festa 1975, Wycliffe Bennett.
In a conversation with Wycliffe, I
learned that as far back as 1954, Donald
Sangster (later to be Sir Donald) went
to New Zealand to represent Jamaica
at their Centenary Celebrations, and came
back with the idea of doing a similar
celebration to commemorate 300 years of
of association between Jamaica and
Great Britain, which was to be marked
the following year.
Wycliffe Bennett, who was then a
Custom's Officer in the Collector

General's Department, had at that time
been organizing Speech Festivals for the
Jamaica Poetry League. It was his friend
G. Arthur Brown, (later to become
Governor of the Bank of Jamaica), who
brought him into the organization of the
'Jamaica 300', a team which was actually
coined by Fred Wilmot.
"You can imagine my feelings" said
Wycliffe Bennett, "when I, a lowly
Custom's Officer was called up to King's

House to attend a meeting called by the
Governor, Sir Hugh Foot. I remember
the vast dining room in which we met,
and a lingering impression of obsequious-
ness in the presence of the Governor by
some men whom I would normally
address as 'Sir' by virtue of their age or
"Nevertheless, it was possible to per-
suade the Governor that a Jamaican
Festival would not be taken seriously
unless it was a national event. A national
event it became, with permission to go
full steam ahead with the Festival."
These events took place at a time
when a Jamaica Labour Party government
was in power, and when the government
changed to a People's National Party
administration, there was still uncertain-
ty about the Festival. Wycliffe Bennett
remembered accompanying his wife,
who was then Acting Director of the
Jamaica Services to the opening of the
St. Andrew Parish Library which was
then on Caledonia Avenue, and the
guest speaker was N.N. "Crab" Nether-
sole, Minister of Finance, who greeted
him warmly and said "I have just gone
out on a limb for you in Cabinet, I
believe in the celebration, and you are
going get the L5,000 for the Jamaica
300 celebrations."

Hon. Donald Sangster (later Sir Donald, and
2nd Prime Minister of Jamaica) was Jamaica's 21
representative to the New Zealand Centenary
Celebrations (1954). Returning enthused with
the idea of a similar local celebration, to
observe 300 years association with Britain
(1655-1955), he mobilized local interest. Here.
with the Jamaica 300 committee, he scrutinizes
the proposed Logo. Mr. Wvcliffe" Bennett.
General Organizer, stands directly behind him.


Theodore Sealey was Chairman of the
organizing committee which included
Sir Herbert McDonald among others and
Jacob Taylor as Financial officer, J.J.
Mills as Secretary, with Wycliffe Bennett
as the General Organizer.
The so-called All-Island Speech
Festival had been running since 1943, but
it was a misnomer because it did not
really extend out of the Corporate
Area; and the 'All-Island' music Festi-
val, established in 1929 did not go much
further. Elocution contests had begun
quite early and the past played by
Marcus Garvey is now history. He had
organized elocution contests since about
1913. The General Organizer's job was
to put speech and music on a genuinely
islandwide basis, and to introduce other
subjects. At that time only Portland, St.
Ann, St. Catherine, and perhaps Man-
chester had held Parish Festivals, and his
job was to establish similar organizations
in the other eight parishes, to go into the
byways and hedges preaching the Gospel

of Festival. That year, literary compe-
titions were also introduced as well as
arts and crafts exhibitions, and the first
adult drama festival was held. The Secre-
tary to the Jamaica 300 Festival was
Sylvia Wynter, authoress/researcher, who
is described as a wonderful worker. "She
simply did what had to be done."
The graphic arts exhibition was
mounted at the Victoria Crafts Market
which stood at the foot of King's Street,
where the Hotel Intercontinental now
stands. Edna Manley, Albert Huie, Carl
Abrahams, Ralph Campbell, David
Pottinger, Gloria Escoffery, Whitney
Miller all the name artists of the period
took part. Wycliffe Bennett recalls that
it was Bernard Webster whose inventive-
ness with pipes and calico made a won-
derful setting for the display.
Apparently as a reward for the success
of the Jamaica 300, Wycliffe Bennett was
assigned as an Inspecting Officer for the
Agricultural Loan Societies Board in
Mandeville; irrepressible as ever, he sur-
prisingly managed both these duties and

the All-Island speech festival from that
location. But he returned to Kingston
to organize the second National Festi-
val of Arts, with Dr. Glendon Logan as
Minister, and Robert Verity as Chairman.
Wycliffe Bennett credits Edward Seaga
as being the politician who really changed
the pace of Festival when the JLP came
to power in 1962 and the event came
under his portfolio. Mr. Seaga took the
position that Festival should be organized
as part of Independence celebrations
each year. Wycliffe Bennett acted as
organizer for the first Festival of Inde.
pendent Jamaica in 1963. Shortly after-
wards, he left for Yale University.
"So that was how Festival began" he
said. "Today when there are Festival
functions in the Arena, I buy my ticket
like anyone else and sit in the bleachers.


Old Victoria Crafts Market Site of the first over the island; art exhibitions and mento
National Art Exhibition (1955) bands were also regular features here. A century
The Victoria Crafts Market was located at the later the post '72 development of the Kingston
foot of King St., on the site of one of Jamaica's waterfront led to the relocation of the Crafts
oldest and busiest Negro markets, the Victoria Market on a nearby westerly site.
Market opened in May 1972. A graceful iron Photo: courtesy Urban Development Cor-
building housed for many decades this portion Denis Valentine.
major outlet for colourful crafts work from all


Ceramic as a business is quite a
challenge but it is possible. I have been
doing Ceramics as a business for the past
nine years on a fairly small scale. I
therefore, classify myself as a small
business person, as a Studio Potter. I now
operate a wood Kiln and an electric Kiln
and find the wood Kiln both economical
and practical. I work from my back yard,
from storing, to the preparation and
making of the end product.
I am crazy about colours, my shapes
are basically very simple but compli-
mented by the colours. I mix my own
glaze and although I have not experi-
mented with local materials, the Scien-
tific Research Council has wide experi-
ence in this area, as well as individuals
like Cecil Baugh and the Clonmel potters
(Donald & Belva Johnson).
If you are thinking of going into
Ceramics as a business, make sure that
you are prepared to spend hours, lots of
time, and be dedicated and hard working.
Make sure also, that you are prepared to
take the ups and downs in achieving what
you have set out to do in this very
interesting craft.
Jean Taylor-Bushay


Harmony Hall has been adhering to
its stated policy of only carrying the best
available craft. Managing director, Anna-
bella Ogden explains some of the joys and
frustrations that this entails:
"Our finest craftsmen are artists, and,
as such, the business side tends to take
second place to the creative one. Similar-
ly, economic circumstances usually
dictate living off the beaten track. Our
friends take us to some distant parts of
Jamaica from Brother Brown in Murray
Mountain to Zacky Powell behind Stony
Hill. A chance encounter on East Street
with a maker of magnificent baskets has
now added Riversdale to our list. "Doc"
Williamson has the added task of having
to quarry his alabaster by hand blasting
causes flaws in the stone.
Sometimes, demand is so great that
the individual craftsman cannot keep up
-Orville Reid is an example of how
difficult it is to train apprentices while
trying to cope with booming sales. Some

Untitled, Jean Taylor-Bushay
1983 earthenware 1_L"
Collection: the artist
of the more established- businesses are a
bit sounder based, although still prey to
unexpected shortages here I include my
boxes, Beenybud's beautifully packaged
spices ;even Mr. Mills' calabashes.
On the positive side, all of the indi-
viduals that I have mentioned are wonder-
ful characters, making wonderful things.
It takes a long time to overcome the
habitual problems of lack of capital,
transportation, marketing knowledge and
capacity. I hope that I can detect an im-
provement, but it is, by definition, an
agonisingly slow process. On the other
hand, if everything happened too easily,
everybody would be doing it ".

"Marriage Staff" Zaccheus Powell
1982 cedar 62"
Collection: National Gallery

Wicker Basket by Benjamin Ramiki, a gifted
young straw worker from Riversdale. St.
Catherine; on display at Harmony Hall.



The Pan Jamaican Investment Trust
Ltd. art collection is by no means the
country's largest, numbering just fifty-
five pieces, nor the most expensive,
valued at $335,350 in January 1984, but
is of significance because it was the very
first corporate art collection in Jamaica.
Chairman Maurice W. Facey re-
members: "I think I got the idea from
articles that I'd read about corporate
collections and their value. When we
started developing real estate, I saw a
publication about art in architecture and
I realized that these two were well
connected." This was in the late 1950's.
"But I think the question of a collection
being connected to the development of
commercial office property started when
we started the development of our build-
ings," he recalls. The first of these was
the NCR Building in 1964, followed by
the IBM, Life of Jamaica, Pan Jamaican
and Dyoll Buildings and the Scotiabank
Centre among others.
"A.D. Scott influenced me quite a bit
because he was used as the main con-
tractor in our building so I came in con-
tact with him daily and he was a very
keen collector from way back. I think he
was one of the people who obviously
inspired me and encouraged me to buy
pieces of art for various buildings," Facey
Designed by the architectural firm of
McMorris Sibley Robinson, the National
Cash Register Building at Cross Roads
was unique in being the first Jamaican
office building with a central atrium
courtyard, according to Valerie Facey,
who remembers that a large Eugene Hyde
mural was commissioned for the foyer in
1964/65 and thus became the first ac-
quisition of the Pan Jamaican art col-
lection. This untitled mural, 48" by 84",
was recently on show in the Eugene
Hyde retrospective at the National
Gallery. An abstract wood sculpture by
Canadian artist Godfrey Stephens was
also purchased the same year for the NCR
The only other artwork specifically
commissioned for a building site was
created in 1971, a bronze sculpture by
Erwin de Vries of Surinam, for the court-
yard between the IBM and Pan Jamaican
24 Buildings on Knutsford Blvd. in New

"Jacob and the Angel" Edna Manley

In the early days Maurice Facey and
his wife, Valerie, decided what purchases
were to be made, based on their own
taste and preferences. They started their
own private collection in the sixties and
would often buy two works at an exhibi-
tion, one for the family and one for the
corporate art collection which is some-
what uneven in quality, although it in-
cludes some very fine selections.
Without doubt, Edna Manley's wood
sculpture, "The Faun", purchased in
1975, is one of the most beautiful pieces
in the entire collection and was recently
on loan to the artist who continues to

find it a source of inspiration. This par-
ticular sculpture has been chosen for dis-
play in the new Pan Jamaican executive
offices. Colin Garland's "Woman In Red",
1974, is by the artist's own admission one
of his very best paintings, while Karl
Parboosingh's "Confrontation II" is
another of Pan Jamaican's finest acquisi-
The collection, which includes ce-
ramic pieces as well, began to take shape
in 1970 and each year thereafter several
more selections were added, culminating
in the purchase of thirteen works of art
in 1975, the year the Scotiabank Centre

"Boy Peeling Grapefruit" Michael Lester
1959 oil on canvas 30"x 48"

death. In 1978 the Polish National
History Museum hosted a retrospective
of his art and Pan Jamaican recently ac-
quired his "Fruit Carrier Boy" and "Boy
Peeling Grapefruit".
"In the old days," Mr. Facey remem-
bers, "pieces of art were scattered in
each of the buildings."
In the course of consolidating these
works of art it was discovered that three
pieces are missing. A Eugene Hyde
abstract "Red/Brown/White", Seya
Parboosingh's "Woman in Red" and
Barrington Watson's "Study for Athlete's
Nightmare" cannot be located. Chris
Marley believes that in moving out of
offices, tenants may have thought that
the works belonged to their own com-
panies and moved them with the furnish-
ings, not realizing that they actually
belong to the owners of the office build-
ings. He hopes that the art will eventually
come to light.

Chris Marley assumed the task of
having all the works photographed and
catalogued which Valerie Facey had
originally begun, and for the first time,
has had the art reappraised for insurance
purposes, a practice which they plan to
continue every three years now with
David Boxer or the National Gallery
doing the valuations. Marley notes that
the cataloguing process was spurred on
by the discovery of the missing works and
urges anyone with art work to document
it carefully. In addition, he has started to
separate the family collection from the
corporate one and is finding that some of
the corporate art is not really suitable for
office display.
He also speaks of the collection being
at a crossroads now. There is talk of a
changing orientation from representing
major works of every artist to concen-
trating on contemporary art, which may
account for Pan Jamaican's most recent

opened. But with the downturn in the
country's economy, Pan Jamaican Invest-
ment Trust Ltd. ceased to purchase any
art after 1975 and only revived their art
acquisition in 1982 with another magnifi-
cent Edna Manley, a bronze bas relief
sculpture entitled "Jacob and The Angel".
With the revival of Pan Jamaican's art
collecting, a committee composed of
Valerie and Maurice Facey, their daughter,
artist Laura Facey, Public Relations Head
Christopher Marley and National Gallery
Curator David Boxer has been named to
oversee further acquisitions.
1983 saw the addition of works by
Roger Mais, Mallica "Kapo" Reynolds,
Gene Pearson, Phanel Toussaint and
Michael "Lester" Leszezynski. The latter
was a Polish artist with what David Boxer
calls "a brilliant graphic sense" who came
to Jamaica in 1952 and became a major
painter on the North Coast before his
"Still Life" Karl Parboosingh
c. 1960's oil on canvas 35"x 23"

With the Compliments of

Tel: (809) 92-65430

acquisitions: Eugene Hyde's "The Dis-
possessed" and "Isolation" from his
Casualty Series. Created as a pair in 1978,
they were purchased to be displayed
together in Pan Jamaican's penthouse
Marley is positive that all art in the
collection must be of "corporate quality".
By this he means not only that it be suit-
able to business locations, but that the
collection must include only top quality
works. He points out that Pan Jamaican
Investment Trust Ltd. is one of the top
companies on the stock market and can
once again afford to fully support the
acquisition of art. Maurice Facey notes:
"I think the interesting thing that we try
and do as a development company is to
provide a portion of our development
costs for the purchase of works of art. We
use figures varying from 1% to 2% of the
total development cost."
$100,000 has been allocated this year
for art purchases. With this Marley
believes the Pan Jamaican collection has
the capacity to purchase larger, more
expensive major works. He personally
believes businesses should leave the less
expensive works for private collectors.
"It's not our job to encourage new artists.
Leave that for young couples starting
out," he says and suggests a family should
buy young artists' work as an investment,
or people should give a young artist's
work as a wedding gift which will appreci-
ate in value. He uses examples from the
corporate collection to illustrate what he
means, for instance, "The Yellow Hat"
by Barrington Watson which Pan
Jamaican acquired in 1970 for $380 was
valued in January 1984 at $20,000, a
sizeable increase even after successive
Pan Jamaican has not ignored young
artists, however, but has sought to assist
them through the National Gallery, of
which Maurice Facey was the founding
Chairman in 1974 and of which he is
again the Chairman. He explains: "What
Pan Jamaican Investment Trust has done
is to provide from time to time grants to

"Xaviera" Roger Mais
1951 oil on hardboard 20" x 16"

the National Gallery for the acquisition
of paintings, for scholarships and for
things which the National Gallery has
done. We have been providing help
through the National Gallery and I think
we intend to formalize that in some-
thing more meaningful in years to come."
One of the most important works
which Pan Jamaican was able to assist the
National Gallery in acquiring was
Barrington Watson's early "Mother and
Child". Valerie Facey shared ownership
of the painting with another individual
from 1968 until the National Gallery
opened in 1974 when she asked that it be
placed at the National Gallery for her six
months of the year. Subsequently Pan
Jamaican was able to buy out the other
owner's share and Valerie Facey and Pan

Jamaican jointly presented the painting
for all Jamaicans to share.
As for the almost six hundred em-
ployees of the Pan Jamaican Group of
Companies, only the people who work in
the office buildings have access to the art
at the moment, but this will soon change
as plans develop to build a small gallery
and conference room in the courtyard at
the back of the Pan Jamaican Building on
Knutsford Blvd. Says Maurice Facey:
"The design is being done by Vaden
McMorris and Stephen Facey. We'd
certainly like to have it done by the end
of this year." The gallery will be open to
the public who will have their first oppor-
tunity ever to see an exhibition of The
Pan Jamaican Investment Trust Ltd. art


With the Compliments of

TELEPHONE: 92-61680-5, 61200-3. TELEX: 2124




An interesting feature of recent
summer exhibitions was the preponder-
ance of shows devoted to quality
craft, objects d' arts and mixed media.
In Kingston there were several such
exhibitions at Frame Centre (Susan and
Doug Casebeer, Quilts and pottery),
Mutual Life (Beti Campbell, Textiles/
Marjorie Keith and Hazel Bradshaw,
ceramics and textiles); Bolivar Gallery
(the Clonmel potters/Chinese objects d'
art); Makonde Gallery (group mixed
Other shows of the J.S.A. graduates
and Upstairs Downstairs (Fine Art,

Heritage) included mixed media, as-
semblage and ceramic pieces.
In Harmony Hall, Ocho Rios, the
ongoing group show featured interesting
items in media which ranged from paper
mache to wicker.
It is felt that this upsurge in quality
craftwork reflects a variety of current
developments. A central influence has
been the commitment (long overdue) by
architectural and interior design concerns
to the distinctive and aesthetic enhance-
ment offered by indigenous creative
work. This demand, it is felt, is reflective
of a widespread local consciousness of,
and demand for, original handmade items
of all sorts, for use or for aesthetic
enjoyment. Additionally the compara-

tively more modest pricing of original
craft work, over original art work, has
opened up the possibilities for "col-
lecting" to an increasingly expanding
clientele. The benefits too, of the long
programmes in art and craft training,
operated by local public and private
bodies, should also not be overlooked.
In many cases, traditional skills which
were in danger of being forgotten, have
happily reemerged, to the economic gain
of the craftworker, and the cultural
advantage of us all.
IN REVIEW, presents an overview of
items from some of these exhibitions, as
well as comments on them from local

JAMAICA SCHOOL OF ART GRADUATES "The Awakening" Austin Wright -
EXHIBITION. 1984 fondu

"I marvel at the fine sense of form displayed
particularly by sculpture graduates, which
seems superior to their sense of colour. Indeed,
it is not unlikely that their exceptional under-
standing of form can be linked to those
"African retentions" of which some critics are
so fond of talking and that in this manner they
manifest themselves most convincingly".
Andrew Hope
Gleaner Art View -

"What impinged most on mind and senses
viewing this year's graduates exhibition, were
the vitality and colour, the structuring of
observed and imagined worlds, the skills ac-
quired by hard work and the overall guidance
of the instructors.
It was also evident that successful careers could
be built by the imaginative application of the
skills of these corageous young artists"
Anna Maria Hendriks
Gleaner Artist's Eye

With the Compliments of

Ccluate Iialmolive Co. Jamanca



Bill Davis,
Susan Alexander
.nd ProJ.Kenneth
planning view the
artist's pewter
chess set,
Legends in


Professor Kenneth Manning
"There is something about a hero about a
Nanny or Bustamante that goes into the
coloring of a national heritage a Jamaican
heritage. These people were geniuses leaders
who pushed their society and culture a bit
further along.
The mark and measure of any society lie in its
common people, to be sure, but also in its
treatment and nourishment of its geniuses. Any
good culture nourishes and preserves such
It makes no difference whether our heroes are
fact or legend, whether we read biography or
fiction, whether we see realistic or surrealistic
portrayals. These heroes play the same role,
serve the same purposes for us in society.
Through them we develop a conception of our-
selves and our pasts.
Their stories must go on; they must continue to
be told to our children and their children. The
literary and artistic worlds both must continue
to promote heritage through both the heroes
and the common people, through both fact and
What ultimately define the serious artist are
two things: the courage and the talent to get
involved and share responsibility for keeping
these questions before world-wide audiences."

lien tampoelus Jaonc creations hand-printed silk screen in
original contemporary Jamaican designs transformed the
Mutual Life Gallery into a gay casual apartment for the
young-at- heart.

"Caribbean Cottages"
Jane Hart/Peter Proudlock
1984 handpainted ceramic 3" pieces
in 20" wooden house
Collection: Harmony Hall

"Water Pitcher" Jackie Manguis
1984 earthenware 14"
Collection: The artist

"Bottle" Cecil Cooper
1984 acrylic, pen, varnish 12"
Collection: Makonde Gallery

"Landscape" Marjorie Keith
1984 Earthenware 13Y2"
Collection: the artist


Janette Collins writes from Brazil ....
I've been reading through the issues
for June and December 1983 you can't
imagine how much pleasure it gives me to
be able to keep in touch with the Jamaican
Art scene at this distance. On this side of
the Equator, I've been working steadily
this last year and I should be able to select
and mount another exhibition in Brasilia
by the end of the year and hopefully be
able to be back in Jamaica 1985.
I work here in relative isolation. I've
spent a major part of the time doing
drawings, using situations, people, events
which stir my imagination. The rich
textured surface that one can achieve by
a build up of the oil paint layers on
canvas is fascinating to me and I've been
trying to get a similar atmosphere work-
ing with conte crayon on paper. The
results are never the same, but it's been
stimulating the variety which can be ob-
tained even if one uses a few basic ideas
but with different techniques.
Last year (1983), after my return from
Jamaica, I enrolled in an Art Workshop at
the University of Brasilia doing printing
techniques specifically etching, en-
graving and collography. The previous
year (1982), I spent the second semester
doing silkscreen, learning a bit about the

printing methods in this field, wax, glue,
photographic, paper cutout.
Although I've started a great many
paintings since I returned (30), the
majority are incomplete. I tend to go
directly to the canvas with the initial idea
(inspiration) and invariably get stuck and
flounder with the incomplete compo-
sition, unsuccessful colour relations -
having to rework the canvas over several
times. Or I find that I have to return to
paper and rework the thoughts, shifting
elements within the composition to
achieve some sort of harmonious balance
(satisfying to me) playing with colour
combinations, using pencil, conte, pastel
and acryl ics on paper (It's all very
tedious but I haven't been able to undo
this back to front method of working -
it's all part of my creative process I
Brasil is such a large country of yet
untapped potential. I have to admit that
there are lots of things related to popu-
lation and size of the country that I've
found fascinating over the past three
years. I suppose I really respond to all
this emotionally and many situations here
just stir my imagination.

"Duas Figuras" Janette Collins
1984 etching (aqua forte) 9"x 8"

With the Compliments of
LWN 1 iL

|~~~.. L,0) oiXRTM



"I'm painting God. That's how I look
at nature. I don't separate God and
Nature it's the same thing," says
Trinidadian artist Larry Mosca of his
extraordinarily serene wilderness scenes.
"People ask me why I paint nature,"
he acknowledges. "I really don't know.
It's just how I feel. But. consciously, I
would say I love nature and want to pre-
serve it. I want to get man more aware of
its beauty, its pertinence to life."
Unlike so many modern painters who
seek to project life's social unrest or
political turmoil onto their canvases,
Mosca seeks instead to project the posi-
tive, healing aspects of life. His range of
compositions include such subjects as
"Endangered Cat", "Toucan: Arima
Valley", "White Hawk in Mist", and
"Spectacled Owl", and all excell at pro-
ducing in the viewer a therapeutic sense
of tranquility. His deft brush strokes dis-
appear, leaving the viewer in awe of
nature's nobility. Mosca's paintings are of
exceptional value precisely because they
succeed in creating within the viewer an
area of stillness, conveying the serenity
and peace of nature so that one walks
away with soul refreshed.
"I took up art right at the cross-roads
of my life, when I was 15 or 16 and going
through an identification crisis as every-
one goes through at that point," says
Mosca. "I didn't want the orthodox child-
hood my parents wanted for me. I pre-
ferred to be alone, to find out the inner
qualities. After form four I begged my
parents to take me out of school. They
tried to line up basic white collar jobs for
me but my innate self knew it wasn't
right so I had to leave, and that created
greater turmoil in the home. You see, I
come from a broken home and there was
a lot of violence as a child physical as
well as psychological. My parents were
always fighting."
"I refused to conform to what they
wanted me do and so it came to me,
I just started being creative and painting.
30 It just unfolded like that, naturally. I had

ti Ciimilimentsof AL
S "' L
t's **-

-& :< 7 .-iT




Larry Mosca celebrating the pertinence of Nature's beauty to man's life.
At work on "Toucan: Arima Valley"

no friends. That was a very depressing
point and the only hope, that only posi-
tivity I could find I don't know why -
was in birds. I got a pair of binoculars and
started looking at birds. Just being in
nature and observing birds really gave me
a charge and I naturally started to paint
them. Now I have my own camera and I
photograph them, sometimes I sketch
them, and then I bring the photograph or
sketch into the studio and work from
that," Mosca explains.
Bom in 1953 at Woodbrook, Port-of-
Spain, of Italian ancestry of his father's
side and English on his mother's, Mosca
is entirely self-taught, save for a crucial
three week seminar he attended in 1975
when he was just 22. "The only formal
art training I really had was with Don
Eckleberry, an American ornithologist
who ran a seminar up at the Asa Wright
Nature Centre in Blachisseuse," explains
Mosca. "Eckleberry knows about birds
scientifically and he taught me how to
use colour. All of this I was doing on my
own before, just by guess, by intuition
and experimentation, but with Eckle-
berry, he taught me all the basics. I really
became a professional artist soon after
-. *." *-- :"."***;:^*'. rTOKb :.! : ', --"

the seminar in 1975. That gave me a lot
of incentive and confidence in my abili-
And natural ability Mosca obviously
has. To paint finely detailed vistas, with
such depth of perspective, is quite in-
credible, particularly when one views the
way in which Mosca is able to capture
such delicate matter as a translucent mist
drifting through a valley, for instance.
His first one-man show was held in
1976, at which time the Trinidad Govern-
ment purchased one of his works for in-
clusion in the National Museum. A half
dozen shows have been held since, but he
has never exhibited abroad. Indeed his
only trip outside of Trinidad occurred in
1973 during his youthful days of turmoil
when he came to Jamaica in search of the
Guru Maharaji. "I've been through many
cults and denominations, but they were
all pointless," he says. Instead, he seems
to have evolved his own mystical world
with which he is now at peace.
In this restless age, he is one of those
rare individuals who feels no urge to
travel, no desire to explore the lands of
his ancestors. "I find there's so much
richness here in Trinidad, endless richness

I3ibisrus Euige Maotel

P.O. BOX 52
TEL: 974-2676/ 2269

Larry Mosca a sense of love shared.

in terms of the island's natural beauty
and of the people." The people are fan-
tastic," he observes, and yet he never
does portraits, never gets involved in art
movements, is utterly divorced from
organized social causes. His world is one
of searching to express the spiritual unity
of man, God and nature.
"When I'm on a locale, and I'm ex-
periencing it, I must communicate this.
I must try to get this on canvas to share
the feeling exactly of what this is. It's just
an inner feeling that really charges you,
and its happening through a stillness,
through a reception, an opening to all
that makes you feel whatever is there.
The way that I function now, I just am
with that openness. That's why I don't
have discipline. That's why I don't really
plan goals for the future. What has to be,
will be. I've surrendered my life."
Mosca is the first to admit that he has
no predictable work habits: "No pattern!"
he claims. "No discipline, None at all.
Absolute chaos. Total relaxation. I just
move by the feel. I could never be locked
into a predictable schedule. Sometimes
I'll paint the whole day, sometimes I
won't paint for a month."
If this all sounds very Bohemian it is
-almost conventionally so. He is the
classic flower-child living with his Trini-
dadian Indian girlfriend Jo, a photogra-

pher turned painter, and their three year-
old son with the Tibetan name, Yulgye,
who's allowed to run naked amongst the
pets and plants in their chaotic house, the
walls of which are painted with whatever
moves the spirit. One thing predominates:
a sense of love shared. Another thing
keeps the Bohemian cliche and the chaos
at bay: Mosca's artistic productivity and
"Before I used to almost duplicate
nature scenes," he admits. "Even with the
birds I used to get into all their feathers
and really detail them. But as I'm growing,
I realize that I'm becoming more individu-
alized. I'm really getting into my style
Aside from Eckelberry, whose work in
the Audobon Magazine he had long ad-
mired, Mosca feels a kinship with David
Shepherd's work (An Artist In Africa)
because Shepherd is able to capture the
realistic and spiritual qualities of nature.
Closer to home in the Caribbean, Mosca
singles out another Trinidadian: "One
particular artist I'm really impressed by is
Pat Chu Foon. I see a deep quality in his

work. That sounds very paradoxical be-
cause I deal in realism and he's painting
abstract, but I can feel where he's coming
As Mosca edges away from realism
towards a more interpretive style of art,
he realizes the need for greater discipline.
"I'm still learning to control my work,"
he explains, "because I have a lot of ideas
inside of me, really good visual ideas. I
seem to be trying to get them going too
soon. It's very distracting."
He speaks as though he were trying to
clear the channels of realistic scenes in
order to go on to something beyond,
something almost surrealistic. "The sur-
realism of Salvador Dali does attract me,"
Mosca muses. "I look at his paintings and
I understand them. My art may move
beyond the realism I now project. For
instance, I see the beak of that Toucan
bird melting just now as I speak to you."
Larry Mosca, thirty-one, is a Caribbean
artist definitely worth watching, for
whatever he paints is of personal meaning
and, because of his own worth, is of value
to all of us.


AWhite Hawks in Mist M
"White Hawks in Mist" Larry Mosca.

With the Compliments of

Jamaica Export Trading Company Ltd.

4 ELLESMERE ROAD, TELEPHONE: 92-94390 or 92-94391


This year the National Gallery cele-
brated its 10th Anniversary Nov. 14,
1984 with a special week of varied
activities, from Sunday Nov. llth
through to Friday 17th November.
The week of events began with the
opening of the Annual National Exhibi-
tion. Always a major event on the
National Gallery calendar, this exhibition
encompasses the best works of Jamaica's
artists, exhibited and executed in 1984.
The exhibition was opened by His Excel-
lency the Most Honourable Sir Florizel
Glasspole, the Governor General who also
launched the celebratory activities for the
rest of the week.
Two special galleries housing the Pre-
20th Century and the International
Collections opened on the 12th and 13th
respectively, while on the 14th a grand
gala birthday reception was held, com-
plete with live musical entertainment.
Special day activities had also been
planned: For students and those inter-
ested in the activities of the National
Gallery, there was a didactic exhibition
documenting the functions of the Gallery
from its inception. This opened daily.

As part of its programme to make the
public more aware of developments in
Art, both locally and abroad, the Gallery
also held activities in which the public
participated. Every morning from 10 a.m.
to 12 noon for that week (Monday to
Friday), the public was invited to meet an
artist whose works were on view in the
Gallery. In an informal setting, artists
spoke about their work and their personal
development and answered questions
from the visitors. Other popular activities
were the daily video films, specially
selected for their high artistic content and
lunch-time concerts put on by the staff
and students of the Jamaica School of
For the youngsters, an Art Quiz, con-
ducted with the kind co-operation of the
Children's Own magazine, ran simul-

taneously with the Anniversary Week.
Children were encouraged to come to the
Gallery to gather information and com-
pete for a cash award, and prizes.
The Anniversary celebrations
witnessed the coming together of those
involved and interested in the Arts,
artists; collectors, students and media
representatives and a wide public. A
group of journalists and art critics visiting
Jamaica were also able to view local art,
to tour the Gallery and participate in the
Anniversary activities. This visit was
arranged by the National Gallery in col-
laboration with the Jamaica Tourist
Board and their agents, Ruder & Finn in
New York.

"The Unfolding" Rachel Fearing
1983 cedar and guango 17"
32 Collection: the artist

TELEPHONE: 922-8620, 922-8630.

"The Age of Wisdom" Barrington Watson
1984 oil on canvas -
Collection: the artist

With the Compliments of


"The Walks"- Isaac
Mendez Belisario
c. 1840 oil on canvas
20"x 20"collection:
National Gallery
(transferred from
Institute of Jamaica
In appreciation, the National Gallery
also awarded Certificates of Appreciation
to those firms and individuals who have
supported the Gallery over the years. A
10th Anniversary poster, commemorating
these events and specially designed, is
now available to the public for purchase.

The public will be pleased to hear that
as of the 12th of November 1984, a
permanent -collection of pre-twentieth
century works is on display at the Nation-
al Gallery. Works on exhibition, date as
far back as the 17th century, include oil
and watercolour paintings, prints and
sculpture representing art under the
British Colonial period.
A series of landscape paintings by
Isaac Mendez Bellisario and Joseph
Bartholemew Kidd can be seen here,
while portraiture is represented by works
of Phillip Wickstead, Henry Room and
one of Europe's better known neo-
classical portrait painters, Pompeo Batoni.
A special display case houses elegant
"Winged Figures" Lynn Chadwick
1Q 7o bron:-e 24-"
Collection: the artist. on extended icn to the
National Gallery.

examples of 17th century engraved tor-
toise shell pieces from Port Royal, while
sculpture is represented by the Bust of
Augustus Frederick Ellis executed by Sir
Francis Chantrey, a major sculptor of the
second phase of English neo-classicism.
These are but a few of the artists whose
works are on display in this gallery of
historical art works.

On Tuesday the 13th November, the
International Collection of the National
Gallery opened.
Through this collection, members of
the public can be exposed to painting and
sculpture pieces created by prominent
artists the world over. Of special interest,
are the works of the British artists, both
early and contemporary of this century.
Paintings by members of the renowned
"Bloomsbury Group" are represented, as
well as a work by Wyndham Lewis, leader
of the vorticists. Of the contemporary
British artists, major works include a
Graham Sutherland painting on extended
loan from the British Council and Lynn
Chadwick sculptures. Other artists repre-
sented are North American painters, Alice
Baber, Boldieu and German artist, Brod-
wolf, and from the Caribbean, Frank
Boiling, Aubrey Williams and Leroy
Clarke yzs & ,

"Of the Past" Laura Facey
1984 ebony suede and found objects 13!,"
Collection: the artists.


With the Compliments of



On 8th October, 1984 the school term
got off to a lively start. At General
Assembly, the new students were wel-
comed into the JSA fraternity and en-
couraged to be disciplined, hardworking
and co-operative.

JSA is in the process of organizing the
Curriculum for Accreditation as the
School moves towards Degree Status. .
Therefore additional Academic subjects
and a clear distinction between Certificate
and Diploma Courses, are necessitated.

Art Education Tutor. J.S.A. lost their
Art Education tutor last year but were
lucky to gain another, in the person of
Miss Patricia Bryan from the Afro Carib-
bean Institute, who also teaches African
Art History to the Second Year Students.

The New Building Project is now in
progress, with the expansion of the Jewel-
lery Department and the Painting Depart-
ment. Friends of the Art School are seek-
ing funds to finish the roof of the build-
ing. The building should be opened by
the end of the Academic Year.

The Ceramic Department is running a
series of workshops in the traditional
Folk Forms and Production Pottery.
The famous Ma Lou will be presenting
the workshop in traditional Folk Form.
In her class the students are shown some
of the marvelous methods used by her, in
making the monkey jars and the jabbah.
They will also discover ways of working
without the aid of modern technology.
The second Workshop in Production
Pottery, is run by Mr. Douglas Casebeer,
from Things Jamaican Limited. Here the
students are taught the art of throwing,
and methods used in Industrial Ceramics.
The emphasis is placed on the develop-
ment of techniques.

Experimental Art
The Sculpture and the Painting Depart-
ments are now working together on a
joint programme of Experimental Art.
This programme has been dear to the
heart of Eric Cadien, and he is beginning
to dream of having an Experimental Art

Carving Classes at the JSA.

Department. Both groups are thoroughly
enjoying the course and the end of year
exam and exhibition will show the impact
of the Course on the department.

Staff Shortages
The School suffered the inevitable
shortages of staff, due to tutors who
moved on for personal or professional
In Ceramics, David Dunn left his post
to take up an OAS Scholarship to Italy.
Painting also* lost: one staff member,
while the Graphics Dept. felt keenly the

departure of photographer Jim Treder.

What is New

The handicapped The School has,
for the first time, accepted a handicapped
person within the full-time Certificate
Course. Two students were registered in
the Studio Certificate Course in the
Sculpture Department in 1982; one
student did so well and produced such
sensitive work for the examination, that
he was complimented by his examiners
and also gave the Diploma students a run
for their money. The School for the Deaf

is helping with the support systems, such
as tapes and interpreters for lectures and
the students have provided protective
support within the School environment
to help with the settling-in period.

Courts Jamaica Limited has offered
two (2) Scholarships to the Graphic
Design Department valued at $3,000.00
The Carreras Group of Companies
have also renewed their pledges of two
(2) Scholarships. The Graphic Design
Department under the capable leadership
of Mr. Isaac Dodoo and his team of tutors
is again bursting at the seams with enthu-
siasm and the blessing of the Industrial
Scholarships are needed for other
students in other departments and help
is sought from Organizations interested
in Art.

The School is woefully short of equip-
ment and furniture as the problem of

A rts amaica

foreign exchange and support from the
local government purse is tightly restrict-
ed. The department of Art Education is
badly in need of twenty (20) desks and
chairs to facilitate the lecture classes in
the department. Students for academic
subjects such as Critical Perspectives, and
Art Curriculum Development are now
writing in their laps, a situation which
cannot continue for very long.

Roots Festival
Students are enthusiastically working
towards the Annual Roots Festival Pre-


sentation which will be held in early
December, 1984. The money gained from
the Concerts, Film Shows and Sales go
towards a Central fund, from which
students can draw loans in emergencies.
JSA looks forward to a fulfilling
Academic Year, 1984/85.

P.O. Box 79,
Kingston 8.

ARTS JAMAICA a magazine of the Visual Arts celebrating and sharing
our profound artistic heritage with an ever-widening public.

Subscription rates (inclusive of postage, handling)
4 issues J$25.00 / US$20.00.
Back copies available on request.


Amount enclosed:
(Please print cheques and money orders to ne made payable to: Arts Jamaica,
P.O. Box 79. Kingston 8.)

With the Compliments of


TELEPHONE: 92-67475/6. 92-67340


"Yabba" Ma Lou (Louisa Jones)
1983 Clay 12" h.

Amun ncosd

Saying it with flowers and AJ.
You can now send your friends, clients
and favourite artist flowers "with a differ-
ence". Thanks to collaboration between
Pearl Wright Flowers (Pegasus) and this
magazine, a special Artbasket request will
see to it that not only flowers, but a gay
informative Arts Jamaica goes out
to say "Hi" or "Thank you" to someone
Celebrating 10 Years
Arts Jamaica wishes to congratulate
the National Gallery of Jamaica on its
stimulating and positive impact on the
local art world over its 10 year existence.
The regularity and variety of its exhibi-
tions of local art and artists, and the fine
catalogues produced, have gone a long
way in giving the Jamaican public tangi-
ble evidence of our "wealth" in the area
of artistic endeavour.

will move through Ocho Rios (8th)
Mo-Bay (15th) and to Devon House,
Kingston on 21/22 Dec. Unusual items -
such as coconut husk bird-feeders,
and hundreds more, will be on sale.
Maroon culinary Arts will also be a
feature of the Devon House Splash, as
well as traditional Xmas items such as
maypole dancing, mento bands and grand
market treats.

Christmas debut, to join the gay boxes,
cards and already-on-display poster series.
O.A.S. A Long-standing Contribution
to Upgrading Local Art Skills

Arts Jamaica also salutes the Organiza-
tion of American States and local director
Patrick Healy, for the consistent commit-
ment to upgrading the cultural training
available to local artists since 1979. The

"St. George's College" limited edition print,

from original by Susan Shirley

Cecil Cooper officiates at the opening of
Gallery Makonde, Orchid Complex, on Water-
loo A venue. Director Yvonne McClymont and
guest Mrs. Avis Henriques share in the light-
hearted mood, as the gallery opened to a large
crowd of well-wishers
This gallery emphasises African as well as indi-
genous artworks.
Things Jamaica's Craftsplash

Christmas shoppers islandwide can get
on the lookout for the fine craftwares
and unusual gift ideas which may be
found from Dec. 1 at TJ's Craftsplash.
From the Mandeville fair, on that day,
and every consecutive Saturday, the fair

New Prints

An ever increasing variety of local art-
works are becoming available, in limited
edition prints; these have often bridged
the gap, when special Jamaican and not-
too-expensive gifts and souvenirs are
required. Such new arrivals include:
St. George's College by Susan Shirley -
a large colour print from an original of
the school's main building which was
specially commissioned by a St. George's

Harmony Hall Posters the newest set of
4 Harmony Hall posters featuring
works shown over the last year make a

OAS has since that time, offered sponsor-
ship for short and long term courses to
over thirty local artists, with specializa-
tions ranging from museology, conserva-
tion, leatherwork, ceramic design and
paper making. Recipients have taken up
the OAS's generous offers as far away as
Italy, as near as Mexico and have re-
turned to teach and enrich and stimulate
local knowledge and interest.
Fine Arts Foundry soon to be fully
operant, is a challenging new enterprise -
which should expand the range of techni-
cal facilities available to local artists and
producers. The brainchild of local entre-
preneurs, including Kay Sullivan, Frank
Rance, Tony Ferrari, Paul Bruder, John
Issa and Winston Price, the foundry at
99A August Town Road will offer fine
arts casting and is expected to be full
steam ahead by January 1985.



teacher and writer has exhibited locally and
in Canada. She has been writing about art both
in exhibition reviews, and research articles,
since 1956. Miss Hendriks presently teaches art
at Priory High School, Kingston.

ceramic artist, combines job, parttime instruc-
tion at JSA and a busy home studio. Her
sensitive muted works have gained a wide
appreciative audience among local art lovers.

ROSALIE SMITH-McCREA assistant Curator
at the National Gallery, has curated and re-
searched several important exhibitions during
her term there. As an abstract artist, she has
also presented in local exhibitions.

DR. DAVID BOXER has been Director/
Curator of the National Gallery since 1976.
During his stewardship, the N.G. has pre-
sented major retrospective and private col-
lection exhibitions, expanded its Annual
exhibition and sent overseas its pioneer exhibi-
tion "Jamaican Art 1922-1982. "David Boxer is
also a modernist artist, utilizing a wide array of
media in his own work.

a wide range of consultative and administrative
posts in communications and culture in Jamaica.
A writer and design specialist, she heads the
Festival Literary Committee.

NEVILLE JAMES Manager of the Private
Sector Organization of Jamaica, worked ex-
tensively in communications before taking up
his present post. He has collected fine Jamaican
antiques, the work of "T. T. "Jackson, for many

DR. LAURA TANNA holds a doctorate in
African languages and literature. The author of
the newly published anthology of Jamaican
folklore, she writes regularly on folklore and
art. She completes, in this issue, her series
on corporate collections in Jamaica.

ist and artist, writes locally on art. For many
years, a Gleaner staffer, she has also trained in
Museology in Mexico.


Independence celebrations this year
brought well-merited honours the
Commander of Distinction to Barry for
his long and committed contribution to
the arts. The first artist to be so honoured,
Barry has however not been one to "rest
on his laurels". His latest venture, and
one eagerly awaited by art lovers locally,
will open shortly. It is the versatile multi-
purpose Contemporary Art Centre on the
corner of Hope Road and Liguanea
Ave., which will combine facilities for


Runaway Bay Collector wishes to sell
6 Michael Lester paintings. Serious offers
to Ned Wong 0973-2066

shows, studio-display, multi-media library
and reading room among other facili-
ties. Congratulations and good wishes go
out, from Arts Jamaica to this indefatiga-
ble artist.

Hand Crafts: the Useful Arts

Much of the information on Jamaican
hand-work that appears in this article was
collected through the kindness of a
number of people, particularly Miss Dottie
Corbett, Mrs. Ruth Evadne Ford (former-
ly of Jamaica Welfare); Mrs. Sonia Galli-
more (Things Jamaican); Mr. Alvin
Marriott, O.D.; Mrs. Vera Mould, Mr.
Terrence Nisbet, Mrs. Alma Parkinson,
Miss Linda Stockhausen; and the staff of
the National Library. Anna Maria Hendriks
SAnna Maria Hendriks

National Gallery
Kingston Mall
Mon. Sat.: 10.00 a.m. 5.00 p.m.
Bolivar Bookshop and Gallery
ID Grove Road, Kingston 10
Mon. Fri. 8.30 ajm. 4.30 p.m.
Saturday 9.00 a.m. 1.00 p.m.

Frame Centre
Tangerine Place, Kingston 10
Mon. Fri. 9.00 a.m. 5.00 p.m.

Contemporary Art Centre
Comer Liguanea Ave./Hope Rd.
Mon. Fri. 10.00 a.m. 6.00 p.m.
Saturday 9.30 a.m. 12.30 p.m.

Hi Qo
Spanish Court, New Kingston
Mon. Fri. 9.30 a.m. 5.00 p.m.
Saturday 9.30 a.m. 1.00 p.m.

33 University Crescent, Kingston 7
Mon. Fri. 10.00 a.m. 12 noon; 12.00 p.m. 5.00 p.m.

Mutual Life Gallery
2 Oxford Road, Kingston 5
Mon. Fri. 10.00 a.m. 5.00 p.m.

The Garden Gallery
1 Mannings Hitl Road
Mon. Sat. 9.00 a.m. 4.00 p.m.
Upstairs/Downstairs Gallery
108 Harbour Street, Kingston
Mon. Fri. 9.00 a.m. 4.00 p.m.

Makonde Gallery
Orchid Restaurant, Waterloo

Collectors Arts
Savanna Plaza, Constant
Spring Road, Kingston 10
Mon. Fri. 9.00 a.m. -
5.00 p.m.
Galleries Outside of Kingston
The Round House Gallery
2 Orange Street, Montego Bay

Gallery Jamaica
Plantation Inn, Ocho Rios

Ujomo Art Gallery
Mandeville, Manchester
The Designers Gallery
Trident Hotel, Port Antonio
St. Ann's Bay Gallery
Mon. Fri 9.00 a.m. 4.00 p.m.

Sam Street's Museum of African Art

Gallery Hoffstead
58 Hanover Street, Hanover, Lucea

Gallery of West Indian Art
Montego Bay

Budhai Gallery
Montego Bay

Gloria Escoffery's Gallery
Brown's Town, St. Ann
Tel: 0975-2268

Gallery Joe James
Rio Bueno. Trelawny

Harmony Hall
Ocho Rios

Herb Rose's Gallery
Port Antonio

Frame Centre Gallery
Little Pub. Ocho Rios
Mon. Fri. 10.00 a.m. 6.00 p.m.
Saturday 10.00 a.m. 2.00 p.m.

With the Compliments of

National Housing Trust

4 Park Boulevard, Kingston 5, P.O. Box 5,000, Phone: 92-96500-9


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