Dear Editor,
My first meeting with Philip Moore was actually in the 1940s through his carvings which were on show at the League of Coloured Peoples’ Fair held annually in the Promenade Gardens. I was most interested because of my own very simple efforts using a penknife.
Moore was first tutor, and artist in residence later, at the Burrowes School of Art.
He taught by word and deed and was revered among students for his unswerving devotion to art and encouragement offered to all who would listen. Moore’s approach was based on his philosophy to life and work where the two were not compartmentalized. He felt that artists must make use of their imagination and spirituality as guides, and not depend on reading books on Art. He often spoke against those he called “book artists.” I was among those listed, seeing that I read such books even before actually meeting Moore.
For all Guyanese and artists in particular Moore was indeed a most unique figure, that of artist and visionary in a single person.
The annals of Art History can point to very few such figures. Informed by visions he never doubted his work in sculpture (which was his first love) and painting which present varied aspects of Guyanese culture. These works were based on daily life, politics and folklore. His 1763 Monument, often derided in its early years, is unlike any other public monument in the rest of the Caribbean and perhaps elsewhere where a traditional approach was used.
For those of us who listened, Moore preached his philosophy of “Godman-liness” – “God in Man and Man in God,” a philosophy which could find favour among contemporary spiritualists. He felt that we all have within us the connection to the Godhead and spiritual power to direct us in whatever we need to do.
Guyana was blessed to be motherland to one like Philip Moore and continues to be blessed by having his works as a national endowment in the National Art Collection which can be viewed by anyone anytime.
Yours faithfully,
Stanley Greaves
