exhibitions

Born in Yorkshire England, Edna Manley’s mother was Jamaican, from the prominent Shearer family. In 1936 she met her cousin Norman Manley who had come to England as a Rhodes scholar to study at Oxford. He was later conscripted and fought in WW1, while Edna studied at St Martin’s School of Art. They married in 1922 and moved to Jamaica where Edna was to pursue her career as a sculptor creating images that reflected Jamaica’s struggle for nationhood. During the 1930’s Edna Manley continued to exhibit in London but increasingly her focus was Jamaica where she exhibited and supported the development of the arts.

Judy Ann MacMillan is one of Jamaica’s foremost academic painters. Born in Kingston but trained in Scotland she brings to her work a unique synthesis of technical ability and subjective intimacy that only a Caribbean artist can achieve.

Returning from her studies in Europe, in the early 1970s Judy MacMillan began to establish a name for herself amongst collectors and patrons alike as she undertook a series of portrait commissions. Her keen sense of observation, classical rendering and her sense of pathos for her sitters brought her public acclaim and success. But Macmillan showed herself to be more than just a society painter, in the tradition of itinerants such as the British painter Augustus John who visited Jamaica in the late 1930s, she moved towards portraiture with a social conscience. Choosing subjects such as Jamaica’s youth as in New Breed 1975, she raised questions and awareness about modern Jamaican society. These works quickly found their way into the National Collection.

Born in Kingston to Jamaican and Cuban parents Kayiga forsook a white-collar job in favour of studies at the newly formed Jamaica School of Art and Crafts. He majored in graphics but after winning a Government Scholarship pursued a Masters in Fine Art degree at the Royal College of Art, London. On graduating he took a job teaching and doing post-graduate research at Makarere University Uganda and also exhibited there (Kofi Kayiga), Nomo Gallery, 1970 and (Kofi Kayiga and Kefa Sempagni), Uganda Museum, Kampala (1972). Even while in Africa and travelling he continued to exhibit works in Jamaica and London Kofi Kayiga and Aubrey Williams, Sussex University (1971). He has taught fine art in various institutions since 1966. Between 1980 and 1983 he took up an Artist in Residence teaching post at the College of Holy Cross, Worcester, MA. He is currently full professor at the Massachusetts College of Art, MA.

Albert Huie claims he was born to be an artist, painting from as far back as he can remember. His mother and grandmother who raised him worried about his strange reserved personality and the fact that he spent so much time observing nature or questioning his station in life. Brought up in a strong matriarchal and conservative setting that emphasized discipline and religion, Huie was not encouraged to ponder on the fact that his father, then living in Cuba, had named him Alphonso after the then Cuban president, in fact his grandmother insisted that he be called by his third name – Albert - after Prince Albert, husband of Queen Victoria. Despite Huie’s earliest scratches on the pantry wall at home, it was not until his teens, that he would find and environment that would stimulate his social awareness and creative abilities.

Despite Milton George’s attempt to create a minimal expressionist style in the 1980s, his paintings remained complex. Even when he subdued his characteristic use of vibrant colour in favour of a darker palette, his work combusted.

John Dunkley is considered one of modern Jamaica’s first and finest intuitive artists painters. Like so many self-taught painters that would follow in his wake, Dunkley emerged from that class of self-employed, skilled artisans who lived by their hands. John Dunkley was a barber,

Dunkley’s early life appears to have been filled with misfortune and adventure that may account for his unique vision. Born in Savannah-la-Mar, at the age of seven he suffered an accident that damaged one of his eyes and affected his schooling, as a result, as a teenager he was sent to his father living in Panama. There again, tragedy struck, he arrived to find that his father had recently died, dashing his hopes for the future. Alone, and at the outbreak of the Great War, he became a sailor and is reported to have travelled through South and Central America, North America finally returning to Cheriqui, Panama where he took up painting and came under the influence of the painter Clarence Rock.

As a youth, Rex Dixon first attended art college in Stourbridge, he was part of that initial wave of working-class students who recognized their difference when confronted with middle-class dominated art institutions. His preference for abstraction as expounded by the American action painters can be seen as an early decision in favour of Internationaliam, rather than British parochialism, and the confinement that that represented. A later decision to live in Ireland and Jamaica teaching, and now Trinidad, underscored his ability to identify with other cultures outside of his own, with little remorse.

Leonard Daley’s mural like outpourings have all the power of Dubuffet’s Art Brut, or the Surrealist imagery of Andre mason, yet with none of the self-conscious denial employed by these modern artists. In 1987 when Daley’s work was included in the ‘Fifteen Intuitives’ exhibition, David Boxer could still write with honesty that Leonard Daley had no concept of his work as being art, in the sense of a commodity.

Although few details are known about this Henry Daley’s life, his paintings many of which are self-portraits, provide insight into his short, poignant career as an artist. Even so, Daley’s paintings are highly personalized depictions and for this reason, they should not be over romanticized.

Born in 1919 in Hope Bay, Daley was one of the first Jamaican students to benefit from the informal Saturday morning classes offered by artists such as Edna Manley and Koren der Harootian at the Institute of Jamaica. These classes had a workshop type atmosphere that allowed locals to paint alongside more accomplished artists, in the main expatriates. The aim was to nurture local art inspired by Jamaican culture rather Europe’s art forms. Daley attended these workshops while still a young man. As an artisan by trade, doing small jobs that ranged from painting to plumbing, these classes offered him instruction and an opportunity for self-expression.

Educated at the Jamaica School of Art, Margaret Chen left Jamaica after graduating with distinction to pursue post-graduate studies in Canada at York University, Ontario. It was in Canada also that she began her career as a sculptor, exhibiting in a number of Toronto galleries with increasing success. It is significant however that in the 1980s Margaret chose to return to Jamaica for her first solo exhibition at the Upstairs Downstairs Galleries; to establish her studio, and to become a important contributor to group exhibitions locally and Jamaican exhibitions abroad.