Street Art as I See It: A Photographic Document

There was a time when what was on the minds of the people echoed through the local untrained yet extremely talented artists. The neighborhood walls became blank pages for someone with a brush, some paint, and something to tell. The thoughts expressed were sometimes political or religious, or sometimes simply messages to others in the community. Whatever they were, they were deep-bowel feelings that had to come out, irrespective of what the laws or anybody said. Hardly anyone—from the Roman Catholic pope to the prime ministers, politicians, dons, and musicians—escaped comment. The walls told stories to a larger audience, including the poor and unintelligent, and a far larger number of people in the community were reached than by any newspaper.

Circulated information from the inner city is not delivered from books, newspapers, or even television. The onus is on church ministers, informal teachers, and the walls along the streets. Some folks are unable to leave their area of town and so are completely unaware of the major events of the country, yet they are informed regularly from small bits of news that decorate the walls overnight.

Scribbles and detailed wall paintings help in our understanding of a particular people. In Jamaica it is no different. There is evidence of our earliest people's art on cave walls, telling the Taino's unique story of their lifestyle.

I wish to document the art on city walls through the medium of photography. As I travel along the streets of Kingston with my camera, I observe the development in artistic skill. Street images can have a huge impact, since much consideration is given to the use of colors, forms, rendering techniques, and image sizes. Primed walls covered with bright primary colors are becoming significant eye-catchers in just about any area (fig. 1). Children under the guidance of talented adults are now involved in these wall painting exercises, and while the stories behind the images are often jumbled, the colors are bright, giving some hope and light to the areas in which they are painted.

1.

Image created by Allison Perkins Smith and friends.

Communities will pay artists to have an event advertised or to have some outstanding story told in colorful imagery, including representations of men gunned down under whatever circumstances. In these instances the walls become oversize death announcements, providing the same function as the death column in the newspaper, but more people from the area get a firsthand opportunity to appreciate the message. It is up to the artist to create an image that adequately depicts the dead person, and the sheer size, placement, and colors of the image can have a powerful impact, similar to that of a monument designed for a hero. Since there are no enforced regulations restricting the freedom of these artists, image sizes are becoming larger and far more imposing, and are now appearing in places outside of the small lane or the corner where people hang out. Death announcements are now painted on some major thoroughfares (fig. 2).

2.

A painting of Kirk Diamond by BoneS.

Gone are the days of simplified line drawings and text from the bible, a style often used by the Rastafarians. While such symbolism is still alive, its appearance is greatly reduced. The colors, flags, and icons of that faith are now more often attached to established musicians. For example, images of singer Beenie Man and Sizzla are rendered in near-photographic quality in areas where they are most favored. These paintings reflect the success of the musician, showing him dressed in fancy coat and matching pants (fig. 3).

3.

Beenie Man.

One wall in particular that I have found extremely inspiring is located on the west side of Southside, in the downtown area of Kingston. In Southside—a troubled community for many years—the artists have taken to the streets to protest many of their concerns, from very early political...