Visual Culture: At Home with Trinidad’s Master Artist, LeRoy Clarke

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Many thanks to Jesse Serwer for sharing this stimulating piece from the global platform for Caribbean music, arts and culture called LargeUp. Written by Tishanna Williams, with outstanding photos by Colin Williams, the article centers on Trinidadian LeRoy Clarke’s artwork, writing, and inspiring approach to life and Caribbean culture.

Dr. LeRoy Clarke is a force to be reckoned with. If his extensive repertoire of artwork, poetry and essays spanning half a century doesn’t awe you, go to Trinidad and meet the man. We dare you. His imposing figure belies a quick smile and a mischievous wit that will have you laughing one minute, and wondering how you got caught up in serious conversations on philosophy and art the next. He is, most who know him would agree, Trinidad’s most internationally prolific and nationally controversial living artist.

Hailing from “Behind The Bridge” in Gonzales, Belmont, Dr. Clarke is a self-taught artist, writer, philosopher and one of only two persons bestowed with the title of Master Artist by the National Museum and Art Gallery of Trinidad and Tobago. He was also awarded the Yoruba title “Chief Ifa’ Oje’ Won Yomi Abiodun” by the Orisha shrine Ile Eko Sango/Osun MiI’Osa, which when translated means, “He Who Cannot Be Rebuked.”

This is a man of stories. From his days scraping red brick and clays in water to make the paints that he was too poor at the time to afford, LeRoy Clarke has always believed he was destined for greatness. He offers a particularly remarkable origination story regarding his birth: becoming pregnant before marriage, his mother was contemplating suicide by throwing herself off of the Port of Spain jetty when she was accosted by the Yoruba spirit of the ocean, Yemanja, with the words, “Suppose you don’t dead, you will shame your family.”

As a young man in the late 1950s, Clarke was the vocalist for the band, The Beamers, and a primary school teacher, but very soon his true calling took him on a journey that led to his eventual status as Master Artist. His first solo art show, “Labour of Love,” was shown at the Bank of Nova Scotia in Port of Spain in 1966, and soon after he was exhibiting in Brazil, Canada and the US, where he eventually relocated, following the woman who would become his first wife. It was during this time he wrote his suite of still unpublished poems, “Fragments of A Spiritual” and created a corresponding collection of work, which was first shown at the Studio Museum of Harlem. “Fragments” quickly became a catalyst, as he became the Studio Museum of Harlem’s first Artist in Residence, from 1972-1975. He was also part of the “100 Years of American Art” exhibition in Philadelphia, 1970.

Dr. Clarke returned to Trinidad in 1980 with a vision of uplifting his people through his work, output that has continued to speak to issues of national importance, Afrocentricity, and discovery of self. Whether it’s for the emotional and psychological shock of his paintings and drawings or simply to hear what will come out of his mouth, he has continued to be sought out by young and old, who travel from various parts of the world to experience him. [. . .]

Scroll through for a photographic window into Clarke’s life and career, narrated by the artist himself.

For full article, see http://www.largeup.com/2015/08/01/visual-culture-at-home-with-trinidads-master-artist-leroy-clarke/

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