In this composition, the depiction of a passionate African masked drummer expands across the entire canvas with smaller scenarios of clapboard houses. The scale alone takes you in and allows you to become apart of the celebration; the viewer can feel the intense heat as the various colors bounce off of each other and the drummer’s barebacked body. The repetition of the drummers hand give the rhythm of the goat skin drum and automatically formulates a sound in ones ear while the staccato beats of the colors’ highs and lows resonate with you. The sharp black outline of Junkanoo costumes of the past and the use of traditional African patterns allow one to make connections to the artists’ heritage, both African & Bahamian.
Jackson Burnside’s distinctive technique of taping off, which creates layers and optical illusions, is very recognizable in this piece, along side his architectural interests with the houses, and gives the setting a community environment. The line work is reflective of Stan Burnside and considering the teacher to student relationship with John Beadle; this technique is relative to both artists. Each deliberate choice of color, line, space and use of layering show the complexity of the trios collaboration. Having worked together for many other pieces during this period tells of the success of this ‘Jammin’ process.
Visit the NAGB today and see Burnside, Beadle, Burnside's Hot Summer Night for yourself. The piece is currently on display for the "As We Knew Him" exhibition.