Jason Nedd’s recent paintings at 101

Consulting my database I find that he used to show the muscles as fishermen pulled nets, as women lifted heavy loads, as children sat listening to their grandmother telling stories.

In the current exhibition many of the figures seem to be suffering from incipient elephantiasis, there are no, or only very faintly discernable curves to legs and arms.

Admittedly, portraiture was never Nedd’s strong point. In fact most faces are round, expressionless blobs. I suppose it’s always possible the artist is working towards a quasi-primitive style in which anatomy is irrelevant? Who knows?

As for the individual pieces I chose to photograph in this mainly monochrome exhibition, “The Head Wrap Loose” is typical of most in colours of grey and white with what can best be described as First Nation (Red Indian) skin tones of faces, arms, legs.

Something strange seems to have happened to the woman’s left arm, that appears to be bent backward at the wrist. The play of light and shade shows the influence of Martin Superville in the artist’s work.

“The Ballet I” is another example of the influence of Martin Superville; however, surely the figure on the right has her feet too firmly planted on the ground to be whirling around as implied by her swirling skirts?

“Log Across River” is another disappointment, spoiled in this photograph by reflections of the gallery lighting on oil paint. This is too sombre, too forbidding – yet lacking drama or a real point of reference. Again, one speculates that the artist is moving away from near-photo-realism, reaching for a new way to express nature in Tobago while firmly adhering to what he has learned of light from an older, more experienced painter.

Nedd comes closest to an appealing, believable human face in “Girl at the Door”; the pose is pleasing even though the legs are clumsy, the hands appear awkward – one hopes the model didn’t have to hold that pose for too long.

We are back to the Jason Nedd I recognise from group exhibitions in ’02, ’03 and ’04 in “Back Away”; both figures are well-observed, the one defiant, the other, warning her opponent to go no further. Are they fighting over water, as seems likely considering the setting? If so, where is the second bucket? If not, a man seems the likeliest cause of the quarrel.

Finally, “The Tub Burst” pleases in a contrast of colour even while the girl’s wooden expression belies her exasperation...

The recent paintings of Nedd remain on exhibition at 101 in the Art Society of TT building, Federation Park, until Thursday, May 24.