It was like those moments when we first heard David Rudder's Calypso Music , saw Peter Minshall's Tan Tan and Saga Boy and witnessed Brian Lara's 365.

Jackie Hinkson has given Trinidadians another moment like this in his April 2006 exhibition entitled Christ in Trinidad . It can be said that these murals are Hinkson's life's work so far.

He says he never saw these works as religious paintings, but as paintings about Trinidad and Tobago society. Yet he has seen Christ in his neighbour, in every person he meets, in the man in the street and in the downtrodden.

Hinkson, like those artists mentioned above; has taken the basic essence of the Trinidadian experience and made it “extra-ordinary”. And what better gauge to validate this experience than by The Sorrowful, The Joyful, The Glorious and The Luminous Mysteries.

These works are being shown at the National Museum until April 30. He presents fourteen oils on hard board, ranging from 6 X 10 ft to 8 X 10 ft in size. There are also 14 compositional drawings, 10 preliminary sketches and eight preparatory drawings.

These studies are comprised of gesture drawings, value studies and compositional studies for the murals. Also available is the artist's book on the paintings entitled And so we continue , a DVD documentary and a 10-piece portfolio of autographed prints.

These works began in 2001, and 2003. I was able to see some of them in the Anglican Church in Couva. I recall wondering at that time what lay in the future, and can see that the more recent works have completed the narrative. To say that these works are potent is to say the least; as their varied layers present many discourses. Four of the most interesting statements were:

Robert Las Heras: “In 150 years these are going to be a telling proclamation of who we are far more than anything else that we leave behind”.

Eddie Bowen: ‘The fact is, that this society allows paintings like this to be created. It fosters creativity like this all the time.”

Sundiata: “The figures seem almost too large for the environment in which they are located – too large for their canvases.”

Pat Bisho: “But it is very clear to me that whatever Jackie Hinkson may say to the contrary, there is an unmistakable link between these pictures and Christian belief and witness. They are sacred images. They are icons.”

The artist has held up a mirror to his society. It is the subtle imagery that makes these works so satirical and deep set in social commentary. In Back in Times , at the bottom of the crucifix, which is an electric pole, there is an advertisement for a Bunji & Machel all-inclusive fete.

Feast at the Rec Club

Piccadilly Passing

Back in Times

Caura Baptism presents bikini-clad women in the background at a river-lime scene where the baptism takes place.

This is set against the backdrop of a bamboo arch. In Judas Mas , it is against the backdrop of Whitehall with a keep-fit jogger passing by as Judas kisses Jesus.

In Piccadilly Passing where Jesus carries his cross, a businesswoman glances back but continues walking away.

In The calming a frightened apostle in the pirogue wears a bright yellow “I love New York ” vest.

There is the police presence in 5 paintings and men/women in business suits in 4 paintings.

The discarded KFC box and logo appear twice in his works, and similarly the Carib bottle and logo appear in four pieces. They however come across as satirical rather than decorative or patriotic.

For instance, in the painting entitled Back in Times, the crucified Christ on the cross is handed a Carib beer instead of a sponge soaked in vinegar.

However the rum and scotch bottle in the Nativity/Parang scene does not appear in this way. One thing this exhibit shows for certain is that the artist has a great sense of humour.

Another visual pun was the Tatil Life building in the resurrection scene in Lapeyrouse Rising. He has also aptly worked in our Carnival Blue Devil character, who points to the Financial Complex in Tempting Town ; in an attempt to lure Christ.

Another very potent use of our traditional mas character was The Whip Man/Jab Jab; who guards Jesus as he carries his cross. Historically, the Jab Jab/Whip Man represented the colonial slave master.

The artist has his self-portrait appearing in three pieces: Paranderos Praise , Feast in the Rec. Club (the Last Supper scenario) and The Mocking as a photographer.

We are also presented with a stray dog /pot-hound in three paintings, the dog takes on that of an observer of the event. Interesting too, are the grey storm clouds that hover in 10 of his 14 paintings. Also lush green hills appear in six of his 14 paintings.

His compositions are very deliberate in directing the eye to the primary focal point and then to the secondary focal point. Six of his focal points appear just to the right, four to the left and four in the centre of the picture plane.

The eye of the viewer sometimes has to move from left and right and back again; or in some cases follow a triangle. There are stories within stories in these paintings, and too, the ones they pose off the picture the plane that we create.

Hinkson says, “When I decided to become an artist I never felt anyone owed me anything, and I still feel that way.” That to me is a man in full control of his life, in no uncertain terms, and able to forge his own path for his career and his society.