Metamorphosis: J.W. McPhail

By Sherrill Clarke

A butterfly.That's how J.W. McPhail sees himself, though it's not a comparison most men would choose. But he began the metamorphosis from caterpillar to butterfly when he was a young man trying to find himself on the street with the lure of girls, money and drugs tugging at him. He made one mistake, which ironically allowed him the time and resources to turn his life around. Now he's an artist on the verge of success.

It was through being incarcerated that he became a new man, freed from the burdens of his past. Deemed illiterate by teachers as a child, in jail he wanted to change his life. And the best way he thought to do that was to learn to read and become a responsible member of society. He also wanted to atone for his crime, contribute to someone's life.

One day he saw a fellow inmate, Oliver Johnson, painting a portrait and decided he wanted to learn how to do that. So he started drawing in pencil, then with charcoal and pastels, picking up pointers from Johnson. "I drew all day, every day," says McPhail, whom his friends and family call Junnie. "In the day room, while the others were watching TV, I drew them."

He went from barely knowing how to draw a tree, much less a face, to creating his first major piece: the fruit bowl in oil. "It was determination, persistence, having nothing else to do that made me master art so quickly," says McPhail, who today is poised for success as a Fine Artist. Exhibits in major museums are in sight too. "What I like about his work is that it's very realistic," says Simone Dewey, owner of Simone's Gallery, Ltd., in Pelham, New York. "You get a lot of feeling from his paintings.”

The lanky, but gentle giant, who's been painting since 1978, has completed more than 100 pieces to date. He's carved out a nook in his first-floor brownstone apartment to create his finely detailed masterpieces. In the center of the room he's surrounded by an easel and a wooden stand with paints, palette and brushes. Calm, patient, studious, he refines colors and features, applying finishing touches to his latest canvas.

Take a stroll through the apartment he shares with Jackie, his wife of 15 years, and you'd see displays of his many works. Jackie, a bookkeeper for a home-care agency, supports him and has done so through the years. Another staunch supporter, his mother, the Rev. Blossie McPhail, proudly showcases several early J.W. McPhail originals in her home, leaving you with the feeling that you're at a gallery opening of McPhail's oils, watercolors and charcoals.

A look at the artist's works reveals a running theme: children (mostly girls) and stately women. "I don't have any kids; that's the main reason I paint them," explains McPhail. "I love children. Everything starts in childhood." He says he attempts to show a respect and acknowledgment of the matriarchs, because he was raised by and surrounded by females.

His work has a family component: Take for instance, "Young Dancer," which depicts a girl backstage peeking at her ancestors through a crack shaped like the continent of Africa. In "My Big Sister" a child teaches her younger sibling how to lace up roller skates.

"Girlfriends" depicts one teenager braiding another's hair, and in "My Grandma" an old woman patiently lets her granddaughter play with her hair. In a departure, "Untainted Youth," which happens to be the artist's favorite, shows a young boy walking down the street hugging a girl. "Jarred (He Has Her Eyes)," a portrait of a boy that sits in the McPhails' bedroom, combines the features of Junnie and Jackie. McPhail's work "represents real-life experience that we can all relate to," says Dewey. "Especially black people. It's a reflection of who we are." He is preparing for an exhibit at Simone's Gallery in February.

While behind bars J.W. McPhail broadened his perspective by learning to read—devouring history books and National Geographic magazines. He earned his bachelor's degree in business administration and a master's in professional studies from the New York Theological Seminary, all while learning his craft—mastering perspective, composition, line and color. He soon made waves in the art community, displaying his work at exhibits, making posters, receiving awards and winning contests. What began as doodling as a means of escape led to the discovery of his immense talent. With the discovery came increasing confidence, self-respect, independence and a sense of purpose and identity.

Meanwhile, with help from family, friends and community leaders, Jackie worked to get him released. J.W.Mcphail names the Exodus program at the Theological Seminary as instrumental in his transition from one stage of life to the next. Others he counts in his evolution: his mentor, Bill Webber, and members of Rye Presbyterian Church. Guiding youths was one of his goals while he was incarcerated, as one of the ways he could give back. "But now I find I have a better vehicle to reach them," says McPhail. "All my art has a message; otherwise what's the point? I plant the seed; someone else waters it. God lets it grow. Art is my ministry."

That spiritual component comes through especially in his landscapes. In the "Garden of Eden" the sun beams down on a lively yet serene scene. The bright yellows and greens of "The Arrival" beckon you to a faraway place. McPhail shows a small photo of a piece he did early on.The stress and strain of imprisonment is evident on the face and body of a boy with a paintbrush and staff—which he uses to hold him up. The New York State flag blows in the background, representing the prison. He's tipping his hat to acknowledge the powers that be. "I'm humbling myself. After years of struggle, I submit," says McPhail in explanation.

Humility is just one of the qualities Junnie possesses, says his wife, a warm and friendly woman, her long braids framing her pretty face."He's honest and cares for humanity and has uncanny humor," she says beaming. What else attracted her to him? "His ambition," says Jackie. "He took a negative situation and made it positive by his art. And he cares about people others overlook." Though they were neighbors 30 years ago (their mothers were friends), the couple's friendship blossomed when she became her husband's pen pal and later visited him. Jackie recalled the story of a woman who had been to the zoo with some kids and Junnie. "I love him," the woman told Jackie. "He carried me up the step."It's clear J.W. McPhail's talent will carry him far, and while he's riding that success, you know that he will not forget his muse—the children. Continuing his work at the Theological Seminary and advocating for at-risk children, he's got his hands full.

His journey remains foremost in his mind. He explains that the lastest piece "Chrysalis," represents his evolution, his transformation. It also represents his growth as an artist. In the piece, a boy in chains breaks free to evolve into a man with a purpose. The man has wings, a palette and a paintbrush. A butterfly.


J.W. McPhail works are available through Goree Art Publishing.You can view all available prints by logging onto goreeart.com ,and entering the J.W.Mcpahil Gallery, or you can call 516-887-7800/1-866-768-7800.