In March 1963, almost a year after Jamaican Independence, the late Rex Nettleford gave the main address at an art exhibition held at the now defunct Hills Gallery in Kingston. This public exhibition was considered to be the first of its kind in Jamaica to feature paintings and drawings that were solely abstract in nature. The works were created by a young Jamaican artist named Milton Harley and it was his first solo exhibition in the island, since graduating from the Pratt Institute in New York the previous year. In response to an expressed concern that the work of Jamaican artists must be relevant to the redefinition of Jamaican cultural identity at that time,, Nettleford was quoted as saying that, “The most we can demand of him is that he works to the pulse of Jamaica and that he allows Jamaican life to act as a catalyst for thought and expression in the arts.” Heavily influenced by the later exploits of the Abstract Expressionist movement, as an art student in New York during the 1960s, Harley remembers: “When I returned to Jamaica from New York I brought back all these ideas of painting from the New York School in particular, where I saw shows of the giants like Robert Motherwell, Franz Kline and Willem de Kooning.”
Milton Harley was born in Kingston 1935, and at a young age migrated with his family to the USA. One of the earliest pioneers of modern abstraction in Jamaican art, Harley’s visual rhetoric seemed to contrast with the cultural aspirations of other prominent Jamaican artists, social theorists and the general populace of the early Independence period. His aesthetic approach introduced the act of painting as directly engaged with its own material and elemental possibilities, without the illusion of objective imagery. As an abstractionist, he identifies and utilizes the elemental essences of the ‘real’ (such as form, texture, colour, etc.) to create an alternative but equally fascinating visual perspective to subject matter. In fact, according to the artist, though his work is abstract, the subject matters he deals with are all based on observations of actual people, places and environments. This may have been the case for one of his earliest paintings Nocturne (1962) which is an abstraction of “three women carrying containers of water on their heads as they are crossing a river at moonlight”.