Brent Malone’s
“Metamorphosis” (1979), part of the NAGB’s National Collection, is on view in
the R. Brent Malone Reincarnation exhibition. The work was donated to the
National Collection by Jean Cookson.
In “Metamorphosis”,
a Junkanooer looks out from behind the mask of his costume – a butterfly. The
connection between the insect and the name of the artwork can easily be made,
but the work is also deeply personal. It references Malone’s re-discovered
identity as a Bahamian together with his return to making art and
‘reincarnation’ as an artist.
Malone completed his
studies at Ravensbourne College of Art and Design in London in 1964. While in
Europe, his focus had been strongly influenced by European greats like Picasso
and Van Gogh. In 1964, he returned to The Bahamas; soon thereafter he began to
experiment with realigning himself and his work with his Bahamianness. In the
late 60s, he started out with studying the human form, substituting locals in
their everyday environments with the live models he’d worked with at
university. By the late 70s, his work had made significant, and rather
patriotic, developments with “Independence Mermaid” (1977) and “Metamorphosis”.
Malone created the
work as a part of his Reincarnation body of works (also the name of the current
exhibition), after a period of depression, during which he stopped painting
completely. Before he began “Metamorphosis”, Malone had experienced the death
of his father, dissolution of his marriage and closure of his business.
Malone was aided on
his way to his newfound place of serenity. Before making “Metamorphosis”, he
was inspired by musician Tony “The Obeah Man” McKay’s “Reincarnation” album,
which was produced in 1972. The album contained iconic songs like “Brown Girl”
and “Exuma’s Reincarnation”.
The country, too,
had experienced a shift – The Bahamas became independent only six years earlier
and was under the leadership of the first black prime minister.
Remembered
fondly as the “Father of Bahamian Art”, Malone is known for being the first
person to paint Junkanoo seriously. His Junkanoo works, which fill the NAGB’s
‘ballroom’, manage to capture the raw and visceral response the festival is
known for evoking in its participants and spectators. In “Metamorphosis” the
Junkanooer’s gaze is intentional and focused. This captured concentration is a
commonality found in many of Malone’s festive works.
“Metamorphosis”
and other Malone works can be viewed in R. Brent Malone: Reincarnation, which
is on display at the NAGB until April 3.
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