Bryan McFarlane was born in Jamaica, teaches in the United States, and travels worldwide. His expansive traveling experiences have not only evoked his admiration to the brilliant human civilization, but also his deep concern for the continuation and worries about the destruction of civilization by pompous world powers.
His art career was totally changed by a journey to West Africa where he saw stacks of cannon balls like pyramids. After such a long time, the cannon balls still can explode at any time, which is full of murderous intentions and reminds us of the lingering nightmare-like memory of colonialism, and the world around terror and war beneath it. He was deeply shocked in the core of his soul as an artist in viewing these sights.
Then, a decision was made.
All his early works became exploration of those lingering shadows which hangs over his soul. In African culture, things always have two aspects: spiritual and material. There were magical light and ‘water spirits’ on his early canvas, where he tried to find the truth in the deep eternal furnace.
After his return from the West Africa, huge black balls replaced the light and water on his canvas. The balls are big in size and full of energy. The heavy black balls have a power to oppress the viewers. From these balls, Bryan McFarlane evolved a series of paintings based on the cosmology of egg.
There are eggs in his works like Untitled with Easter Egg ,1999-2003, Unexploded, 2002, Unexploded Ordinance with Egg, 2002, Pyramids and Egg Axis, 2007, Cool Egg, 2007, Egg Head, 2004, Egg Heart, 2006, Metaphysics, 2004, The Metaphysics of Ritual Objects ,2000-2005, Egg Fountain, 2005, Nesting, 2006, Egg Red with Half Moon-Romantic Journey, 2008, and Untitled, 2008, a concept accumulated in with single; “nesting” or “floating”. The artist uses the symbol of egg, with the synonymy and relevance between egg and cannon balls, metaphoric, appropriation and birth, destroying while transforming, of fragility or strength, of the certainty or uncertainty of life and civilization. Cannon balls and eggs are only the cause, but also the result, suggesting humans are swallowing the numerous illusive and evil evolutions. The heavy black mood evident in these paintings reminds us of incurable diseases – or cancers. It diffuses and spreads on the works, and in the viewers mind.
More than often, the cannon or balls and eggs are accumulated like pyramids. The tall and majestic pyramids are symbol of ancient heritage of Africa or of any other regions in the world. Every nation has its special civilization of its own society and environment which should be admired and protected. And I even think the artist has evolved the meaning of pyramid into the peak of power achieved by sacrifice and violence, and the expansion of power that perpetuates endless occupation and enslavement of mankind.
Concerning the works with the merit of egg, ie: "Egg with Lions Leg and Teddy Bear Torso" has to be mentioned. The artist introduces Teddy, a toy for child to his work. His perspective is not only concerned about the adult world of killing and cruelty, but also concerned about the danger and murderous intention hidden below the innocent children’s world. His deep concern and anxiety are well expressed.
Bryan McFarlane came to China in 2007, and began visiting life in China since then. In his view, China and Jamaica, although far apart, they have similar experiences, though not the same, on culture and dislocation. China closed its door to the world and later returned to the world stage. This process is quite similar with Jamaica gaining international recognition on its art and culture after it’s painful colonial history. Mc Farlane was shocked by the 9,000,000 bikes in Beijing. Then bike became one of the primary themes in his works. The bike is not only a symbol of China as a developing nation, it is more like a development of his previous theme of circle, which is perfectly shown in his works of Bicycles Blues, Night Rider, Beijing Bicycle Burden, Diptych, Red on Red Journey, Caught, Happy Bicycle, and Moon Rider. The wheels run forward. In the process of society and cultural advancement. The wheels of history were constantly rolling and trampling, or stampeding the development of history, and civilization always seems to take the same disastrous road. T(文：王宝菊/摄影：/责任编辑：CF)
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