The art exhibition venue was open-air. It embraced the forest walks, cow pastures, and fields encircling the Facey family home of over 50 years, a working cattle farm, mixed agriculture, and family growing ground in the deep rural community of Orange Hall. This special place is where, at that time, the only gold piece known to have been found in Jamaica was unearthed by patriarch Maurice Facey as he extended his Bellevue residence in 1983. That Taino Guanin earpiece is now housed in the Bank of Jamaica museum, donated to the nation by this gift-giving family. The Sunday October skies saw another offering. Laura Facey, a career artist of 5 decades, gave her family, her community, her country, and the world another “golden” gift.
L. ‘St. Ann Landscape’ – R. ‘Curious Horse’ (photo Margaret Reckord Bernal)
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PORTENT is an art installation spread over three acres. The invitation offers a walking experience from the Polo Field, overseen by a dapple grey curious horse, through the Beehive Gate and arboreal boulevard, up and out to the surrounding landscape which Curator/Creative Director Melinda Brown has expansively “rewoven” as an organic, living tapestry.
‘Beehive Boulevard’ (photo Margaret Reckord Bernal)
Anchored by Laura Facey’s Carvings which range “from miniature to monumental”, each work presented on the walking tour has been reaped from a fall, not felled, tree. Lovingly harvested from the property’s woodlands, these works in quango, cedar, mahogany, and lignum vitae stand arms outstretched in welcome throughout the grounds and fields, and in the artist’s open-sided studio.
‘The Crossing’ guango cast iron pot 68x96x125ins (photo Laura Facey)
‘Object’ lignum vitae 12x11x29ins (photo Laura Facey)
They lean against still-living trees in a synergy of respect and interdependence, as a signal of hope for a future where the artists of the world fulfill their roles as thoughtful custodians of the gifts of nature. Their statements are clear, direct, lyrically transmitted…
As art commentator Annie Paul observed, “I don’t know anyone else who is capable of turning wood into Poetry.”
‘Abeng’ cedar 12ft (photo Laura Facey)
Laura Facey’s message speaks with simple sincerity of community and family.
The community of Orange Hall had nurtured and inspired her parents, the late Maurice Facey, philanthropist and entrepreneur who transformed much of Jamaica’s business landscape; and her mother, Valerie Facey, now in the twilight years at 91 – not present in person but inextinguishable as indefatigable architect and builder, and assiduous documentor of Laura’s career, as the artist made her way in the world.
It was a beautifully grounded event appropriately enough, with presences seen and unseen.
The opening was a joyous celebration, but, not only of Laura Facey and her sublime sculpture, her curator and assorted team of studio carvers, family, and community supporters. Raised in joyful support also were the voices of Melda Darling and the St. Ann Senior Citizens, white-robed sisters led by a solitary male drummer who underscored that this was a Jamaican country-community celebration. They sang and moved through the crowds of well-wishers, undulating in single file in their immaculate gowns, giving thanks for the morning, for the light dew rain that fell intermittently refreshing not assaulting, in harmony with the moment. The drummer beat an irresistible summons, urging the assembled guests to bear witness, to join in, to give praise.
‘Tent: Hand Sewn Calico Exterior’ (photo Margaret Reckord Bernal)
‘Tent: Hand Sewn Calico Interior’ (photo Margaret Reckord Bernal)
‘Melda Darling & the St. Ann Senior Citizens Culture Group’ (photo Margaret Reckord Bernal)
Laura Facey’s exhibition will be up into the early months of 2025.
It represents a challenging visit for those who want to see the progression of her work, who want to learn of her new shift towards celebrating joy after decades of exploring ancestral trauma and triumph, making restitution, paying homage, healing, and building.
In her remarks, Laura explained that she was now moving to what she hoped was a lighter phase of her work.
“I’m leaving one phase of my life and I’m starting a new one. I’ve done as much as I can do, I’m moving on to a new phase – lighter, more gentle. Maybe.”
L. ‘Ode to Pig’ (photo Hugh Small) – R ‘Beryl Uproot’ mahogany 39x30x26ins (Laura Facey)
In the light-filled Jamaican morning in St. Ann parish, surrounded by the generative fields and hundreds of re-energized art lovers, it was not hard to think that this latest wish would come true.
