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place. As a young man, Greaves extended his interest to singing, the steel pan and, most lastingly, the classical guitar. His parents had introduced him to the guitar and the mandolin while still a boy.
friendship with Martin Carter of revered memory, he has so far published two books of poetry, with a new book of haiku poems slated for publication in the near future.
In 1984-85, Greaves studied with Francisco Gonzalez of Cuba, who came to Guyana to teach classical guitar as part of an inter-governmental cultural agreement. The accent was on technique. Although Greaves’ knowledge of music theory was at this time very rudimentary, Gonzalez took great interest in his progress, even suggesting, half in jest, that he give up his art work and concentrate more on the guitar and begin studying theory. In 1994, to celebrate his 60th birthday, he bought a relatively expensive guitar in New York. He had been captivated by its tone at a time when he was making a serious commitment to the instrument. He later became a student of Pam Frost, a trained classical guitar tutor, and for the next six years pursued serious studies in theory and practice. His playing improved to the point where, in 2000, he did a performance for the visiting examiner of the Royal School of Music. He was commended for his performance and for his own compositions. In 2001, he treated himself to an expensive Ramirez guitar.
It comes as no surprise that Greaves has journeyed deep into the Harris heartland and come back richly energized by the experience. When we recall his trip to the interior in the mid 1970s, travelling up the Mazaruni River by boat and on foot to Imbaimadai, Maipuri, Chinakruk, Jawalla: “Water, rock, giant trees. For about three days I was lost in space and time. Chronological time just disappeared. I had strange dreams.” It was for Greaves then a transforming and liberating experience, bringing to an end the long drought that followed his return from Newcastle in 1968. There has been no drought since. We need only think of the astonishing outpouring of work over the years – large and small format paintings, ceramics, carvings, pen and ink drawings, reams of poetry. This most recent surge of production, the Dialogues with Wilson Harris, confirms what we have long known: that Greaves is a modern master, unmatched in his exemplary devotion to the creative life.
Over the last several decades of an astonishingly and continuously selfrenewing productive life, Greaves has fruitfully combined this passion for music and for artistic expression in all its myriad forms. Inspired by his long and deep