It’s very exciting that John Lyons’ first retrospective exhibition is right here in Manchester. I’m going to make a big declaration: this is possibly the best exhibition I’ve been to in my three years in Manchester. (Our degree show excluded, of course!)
Admittedly, I am a painter so any painting exhibition scores extra highly for me. In a city without major institutions such as the Tate or National Gallery, painting exhibitions of this size and substance have felt few and far between. (Whilst smaller independent exhibitions and artist collectives thrive here. London and Manchester cannot be compared.)
I’m particularly impressed that The Whitworth is home to this exhibition. It’s a great place, but there’s not loads of artwork here and exhibitions tend to be small, leaving us wanting more. ‘Carnivalesque’ seems to change all this: three rooms impressively filled with exciting and exuberant paintings. The exhibition felt more substantial than some others at the Whitworth. The rooms were completely brought to life by the works. It feels big for Manchester.
The exterior of The Whitworth
The thing that struck me most about Lyons’ paintings is how viscerally he uses paint. It’s immediately demonstrated in the first painting of the show ‘The Counsellor’, where the paint is worked into a course texture that amplifies the painting’s intrigue.
The Counsellor, 1996-8
Inside, the walls have been populated with a colourful cacophony of swirling paint and figures. The paintings are a blur of folklore, mythology and carnival scenes. All are chaotic, striking and highly emotional. They are a brilliant testament of to the diverse cultural heritage in his homeland of Trinidad and Tobago, the influence of which is distinct. Bodies, animals and light fill the canvases. There is a child-like directness in his mark making. The works are very candid, yet mysterious.
Though almost impossible to choose a favourite, ‘Masquerading’ might be it for me. It’s dynamic, bright, intriguing, a tad ominous. It walks the line between abstract, figurative and surrealist. The quality of the paint is potent, yet the legible brush-marks suggest a tender humanity within. Bright, primary colours pair with subtle purples in an other-worldly palette. Whilst the figures try to leap off the canvas, they also ground this surreal piece in reality.
Masquerading, 1992
The exhibition is free for all. I think this is particularly important for encouraging engagement with the arts amongst people who may not consider themselves the ‘right’ people for it. There’s no room for elitism in art. Manchester are trailblazing in this.
In the gallery, Lyons’ artistic journey is easily followed through the exhibition rooms. On display were a number of drawings too, but these didn’t strike me as much as they were smaller and less bold. His work enters an interesting phase around the 1980s; there seem to be cubist influences at play. They are more angular, with some large-limbed women in ‘Two Girls’ reminiscent of Picasso’s. Lyons’ connection to Manchester is made apparent in reminding visitors of the many years he lived here, explaining the exhibition’s arrival here in Manchester.
Disguising the Intellect, 1978
Two Girls 1985
Lyons’ most playful piece is arguably ‘Self Portrait with Jumbie Bird and Alter Ego.’ His incredible affinity with colour struck me too with this painting; flashes of orange amongst a blue palette give a gorgeous sense of radiating light. This is similarly powerful in ‘The Furies’, bursting with bright coral and turquoise.
Self Portrait with Jumbie Bird and Alter Ego, 1990
The Furies, 2004
Each painting is initially bold, and then wonderfully layered and complex when admired up close. There is something highly satisfying about them. I liked that these paintings are so painting-like. They weren’t sculptural or posing as photos in a realism style (not that this is wrong,) but they are simply very paint-like. They try to be nothing but a painting, and this makes them even more powerful.
Mama Look A Mas Passin, 1990
Detail of paint in Into The Future 1992
The dynamic action of folklore and vibrancy of the Trinidadian carnivals unite in exuberant canvases, bursting with life. Despite their loudness there is a sensitivity within; a subtleness within the layers that provokes real thought. I could hardly tear myself away from them. It seems impossible not to leave feeling uplifted and, if you’re a fellow artist, inspired.
See John Lyons: Carnivalesque at The Whitworth until 25th August
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