Granger: Moore was a poor man who has left a rich legacy for the entire nation

By Michael Itwaru

Iconic artist Phillip Moore was laid to rest following a funeral service at the Liverpool Community Centre, Corentyne, with speaker after speaker hailing him as a poor man, who left a rich legacy of a body of accomplished work behind.

And even as his relatives wept, calls rang out for his remains to be interred at the Place of the Seven Ponds, and be accorded the status of national hero. Moore passed away on May 13, at the age of 90. His most lasting legacy as a sculptor is the 1763 Monument erected at the Square of the Revolution in Georgetown, depicting freedom fighter Cuffy.

Moore’s funeral service, which was preceded by a viewing at Square of the Revolution earlier in the day, was attended by dignitaries, fellow artists and many admirers of his work and legacy.

Among the speakers were Youth, Sport and Culture Minister Dr Frank Anthony, who said that the artist had made a significant contribution to the arts and culture of the country.

“The contribution that Mr Moore made has helped to shape us as a people… his work of arts, they are quite unique… you can go to no other part of this world and see that type of work… because it came from within, and while he was expressing himself, I think he was also expressing ideas for all of us. In each one of those pieces that he would have produced, there are things that are there, it might look very simple to the eye… but they are things that are there that contain very profound meaning,” the minister said.

He noted that Moore’s work expresses the story of a nation, using art to educate on history, and the 1763 Monument stands out in this regard.

Dr Anthony emphasised that 249 years after the Berbice slave rebellion, Moore’s work serves as a reminder of that struggle.

“Many persons would have said that Phillip was a simple man… but in that simplicity, there was lots of sophistication… and his teachings in his thoughts, in his words, you can see why perhaps they sound simple, they had a lot of profound meaning,” he said.

Opposition Leader David Granger in a brief message announced that the Mayor of Georgetown has asked him to inform the gathering that a street in the garden city would be named after the late artist.

Granger stated that the deceased is easily the most prolific artist this country has produced. “There was no time that he was not working on something… just completed something or about to start something… he was a poor man, but he has left a rich legacy for the whole nation… he was a modest man and anyone who had a conversation with him would know that he had a magnificent mind… he was an ordinary villager, but he did extraordinary things… he was a simple person but never, never a simplistic person… Phillip Moore lit a fire… lit a fire on the cultural landscape of this country, which could never be extinguish.”

“Unlike other artists, Phillip Moore did not imitate the world, but used his mind to interpret the world around him while every piece of art had debt of meaning, said Granger.

“He was a man of symbology, and if you couldn’t understand the symbols, you couldn’t understand Phillip Moore,” stated Granger.

“And I spoke to the general secretary of the People’s National Congress Reform, who instructed me to inform you that our party will continue to press for the official recognition of Phillip Moore, for his remains to be interred at the Seven Ponds.”

APNU’s Co-chairman Dr Rupert Roopnaraine read a poem authored by another cultural icon Eusi Kwayana titled “Tall Palm Tree”, which reflected on the life and physical battle with health, and non recognition of the government of his heroic status.

Representing the Alliance For Change (AFC), Attorney Nigel Hughes reflected on his encounter with the artist, noting that Moore was the connection between the current generation and their foreparents, and the 1763 Monument could be referred to a monument more lasting than bronze. He too felt that Moore should have been celebrated and sent off as a national hero, stating that the remains of Moore deserved to be interred at the Seven Ponds.

Guyana Trade Unions’ Congress General Secretary Lincoln Lewis also delivered a stirring tribute to Moore, calling him the national sculptor. The funeral proceeding was moderated by representative of the Guyana Apostolic Mystical Council, who conducted a ritualistic ceremony to send off the deceased, who was a member of the group. Moore resided at lot 7 Lancaster Village until the time of his passing. He became ill for just under two years, from a heart ailment, and was confined to a bed.

His son Phillip Moore Junior and his wife Sheria cared for him, while a nurse visited frequently. The artist was affectionately called Pa Moore by the family and members of the community. Moore’s wife Eulna passed away about 20 years ago. Their union produced Madza, Utive and Pemil, who died at eight, four and 25 respectively.

Pemil was the only offspring that showed a likeness for the arts, and started to paint from the age of three; however her passing was unfortunate, explained Corine, Moore’s only surviving daughter. According to Corine, her father was a rice farmer and in his younger days worked with her grandfather as a balata bleeder. Phillip was the third child born to Alexander and Juanita Moore.

Phoebe Rebecca Scott, 87, the only surviving sibling of Moore’s offsprings, though confined to a wheel chair, travelled with her son Dr Michael Scott to attend the funeral.

Philip Moore was born on October 12, 1921, and died peacefully around 05: 00h on May 13. On that same day, a relative gave birth to a beautiful baby girl. The remains of Moore were interred at the Auchlyn Cemetery, Corentyne.