Anthea McGibbon, Gleaner Writer

This is the middle panel of Garland's oil on canvas triptych titled 'In the Beautiful Caribbean', oil on canvas, from the collection of the National Gallery. - Photo by Anthea McGibbon

TREASURED REMNANTS pattern the space at the Seaview Fine Arts Gallery, a sacred dedication to the memory of the late Colin Garland.

Within the constraining space, gallery owner Wallace Campbell and Dr. Boxer, curator of the National Gallery, laboriously selected and arranged 33 pieces (sculpture and paintings by Garland, as well as photographs of the artist) representing Garland and his art since 1962 when he came to Jamaica.

Unlike any other Caribbean country, Jamaica had an ace in the art world since Independence in the form of Garland's combined contribution to the visual and performing arts. A master of artistic imagination, Garland utilised surrealistic techniques in his work, resulting in a precedence of impacting fantasy art. The works are in no way realism, but essentially realist, for example in 'Boy at Rest', 'Cow-Head'(sculpture) and 'Sun and Moon'.

Keynote speakers

At the memorial service held on Saturday, April 14, Dr. David Boxer and Vice Chancellor Emeritus, of the University of the West Indies, Mona, Professor Rex Nettleford, were among keynote speakers.

According to Nettleford: "Garland has given a new perspective to art and his own individual talent to enrich the landscape."

In an interview with The Sunday Gleaner, he remembered Garland most for "his willingness to participate in (what I call) the Renaissance period of creative art in Jamaica." This, he said, while reminiscing on the period when Garland and other visual artists joined local enterprises such as the National Development Theatre Company. He emphasised that Garland "understood the quest for identity, self, and society."

Progression of ideas

Long-standing friend of Garland, David Boxer, described his work as a progression of ideas from the traditional portrayal of commedia dell'arte types, e.g in the earlier 'Carnival (1)', to the eventual magic realism for which Garland is best known.

According to Boxer, in 'Carnival (2)', Garland's imagination is rampant and "we are transported from 19th century Europe (Italy) to 20th century Caribbean with the fantasy of carnival/ jonkonnu types".

Offering his personal critique to The Gleaner, Boxer noted that in many works there is no further "meaning" than what is portrayed. Titles, he observed, during Garland's artistic lifespan, were often changed and/or assigned by others. 'Kore', for example, was also named 'Flora' at one point, both being simple terms for classical deities. Boxer opined that some titles such as 'The Mosquitoes Were Hot That Night' were almost frivolous.

Like every good artist, there is an interoperability between the artist's work and personality. Through the eyes of his close friends, Garland in his 'surreal' life, surrounded himself with beautiful and exotic objects that fuelled his imagination. Objects such as shells, coral reefs and green bottles are echoed throughout the works.

"Walking into Colin Garland's home was like walking into one of his assemblages," said Boxer. Tom Tavares-Finson, attorney-at-law, acknowledged the displayed collection as a "remarkable representation of Garland and his work" as he relived amusing moments in the presence of the "highly spiritual artist".

Influenced by the orient

A collector of kimonos, Japanese dolls and Chinese sculptures, especially those that depicted fantastic mythical animals, Garland was fascinated and somewhat influenced by the Orient, especially the art and culture of old China and Japan. Additionally, this totally unorthodox person loved and represented the exotic forms and colours of rare birds,reptiles, fauna, plants and trees he lived with and observed, as for example in 'Boy and Bird', 'Flora', 'Andromeda' and 'Birth'. Among these favourite subjects are flowers such as anthuriums, red ginger and the pomegranate fruit.

'In the Beautiful Caribbean' is one of the more arresting legacies. The readings of Veerle Poupeye give much insight to this triptych, but on-location editor of the earlier arts magazine Arts Jamaica, and family friend, Margaret Bernal, offers an explanation to visitors. As is typical of Garland, he, in this work, uses surrealism/fantasy to summarise his impression of the Caribbean.

During a recent tour by Bernal, it was gleaned that the triptych was done during the same period and with the same focus as the play titled In the Beautiful Caribbean, written by Barry Reckord and put on after Jamaica's Independence in 1974. Through the triptych, Garland comments on the social evolution of Jamaica and issues relating to socialism in the early decades after Independence. Issues such as the start of an acceptance of the Rastafarian religion, and the struggles which the central military figure depicts are borne out.

Mirrored reality

In the work, the style, strokes, and techniques applied throughout the entire collection are summarised. For Bernal, Garland, who spent some time teaching at the then Jamaica School of Art (now Edna Manley College of the Visual and Performing Arts), in his own art, mirrored reality and presented the viewers with a reflection of themselves.

Evidenced in the exhibition is Garland's intimate relationship with Jamaica and Jamaicans, for whom his love deepened. In the fairyscapes, he designs a world where he finds rest, happiness and where he often meditated, reminiscing on the various paths through the 'normal' world he has trod. On closer examination of the fantasy works, there is a fair amount of interpretation on how he views the 'normal' world as we know it. In 'Lady in Red', he 'exorcises' the spirit of the traditional market woman and highlights her as an icon of incredible beauty and charm. In 'Andromeda', the miniature-size bird is cleverly depicted as a deep-sea creature.

In other works such as 'Fairyscape', 'Fantasia', and 'A view of Bascobel', actual places are processed through Garland's version of surrealism.

Although there is no sacrosanct meaning to the works, the mind of the artist is very clear and for those who look beyond the strokes, there is a well-written script of life's performances. One example is in 'Carnival (2)' where a little boy tries to hook an oversized fish, which attempts to flee on human feet.

Notably, there is an exploration with the form of boys as is the focus of a number of his works such as the 'Circus' and 'Two Boys with Shells'.

The overall collection is amusing and demonstrates the wit of the artist for whom the 'normal world' was a stage, and his art, his own space to perform uninterrupted.

Anthea McGibbon, a graduate of the Edna Manley College of the Visual and Performing Arts has more than 10 years' experience in the fields of journalism and the arts. Contact her at islandartattack@yahoo.co.uk or anthea.mcgibbon@gleanerjm.com.