Ellon Lewis

Artist's Statement

The problem – solving issues that evolved from introspection, incubation and self- motivation to forged " Coloured Rhythm" were in transitory modulation. The transitory state became a destinctive feature in the development of Art Mas'™

In order to develop the structural process, analyze the cultural relationship and the spiritual connection, the concept of brilliant coloured palette was subdued for the study of Caribbean Folklore and Mythology. Douennes(Dwens) raised eye lashes and eye brows- unspeakable taboos in the social context.

But it was the lyrical phase in the development of an artistic intent and universal beauty.

My artistic enquiry into traditional mas' escalates with the examination of relative shapes and colours within a cultural context. The reasearch on the language of colour, interpretation of colour and the survey of colour as it relates to the sound instruments in mas' - like the marching horns, the blowing conch shell, the tintinabulate sound , the tamboo bamboo and the goomba drum- created a new theory.

The theory expand to include sounds ot the masquerader: the prancing, stomping and tramping sounds; reflecting the sounds in Canboulays-suppression of painful emotions- or, the sounds of slaves ululating across the choppy waters of the Atlantic.

These idiosyncrasies create a new colour scheme for the paintings. The sounds emanating from these circumstances had a psycho-physiological effect that culminated into a dance- an exhilarating mimetic dance with very strong emotional content. The cacophonic sounds captivated and possed the mimic, which evoke the emotional gyrated dance uncontrolled and unchoreographed in the effulgent of reflected sunlight.