Flower power and body lines
Colours of springtime clutter the room in a pleasing manner and amid the flowers, female silhouettes are sinuously making themselves noticed. These are the works of Sharon Borg Cesareo at her first experience in exhibiting art works to the public.Each...
Colours of springtime clutter the room in a pleasing manner and amid the flowers, female silhouettes are sinuously making themselves noticed. These are the works of Sharon Borg Cesareo at her first experience in exhibiting art works to the public.
Each time a neo artist brings forth artefacts in exhibition, there is a kind of gingerly attitude and usually a diverging variety of works is exposed in a willy-nilly presentation. But this painter has determined her works should evolve uniquely around the two themes she likes best - flowers and female bodies. And within her 24 exhibits, there is nothing more, nothing less.
The flowers are bold and take a strong flower power slant - starting off from two small flower vases that are daintily depicted in the manner of an impressionistic innuendo, and moving on to Poppy Field, a spring-time exercise in perspective that catches attention with its strident red. A similar work shows fields of tulips and once again Ms Borg Cesareo utilises the knife technique excellently.
"Whenever I use this technique, I feel I cannot stop my painting half-way through and so continue working till I have completed the canvas, even if it means working till the dead of night."
Other paintings are more dramatic in character and the painter makes a bolder statement in her use of colours, such as in the huge floral painting of red tulips, or within the lovely mix of spring colours of pink, yellow and orange meeting again in another largish canvas.
Looking out on her own garden or walking in the countryside offers enough inspiration, although some of her works are studies of small parts of larger works.
This young mother is visibly excited about her work and also speaks incessantly about her infant daughter. Her fledgling motherhood can be felt stridently in her depiction of Mother and Child - a simple study in browns and line drawing which is very well delineated. But one question springs forth - why choose to paint specifically female figures? "I love experimenting with curves. When I paint I tend to use my whole arm and not simply my hand. The female body is excellent as a scenario for such movements." And it is with wide sweeping, rather grandiose movements that she continues to experiment with colour, alternating mood and stance in rich strident comparisons.
Starting painting as early as the age of 12, she was prompted to take up her studies by the reknowned marine artist Edwin Galea. Eight years of training in fine art under the tutorship of Matthew Cassar inspired her to take on further training in interior design. While she initially preferred to keep most of her work "private" and only painted for family and friends, she has now decided to bare her soul and provide a whimsical take on the more feminine aspect of her character. There is no doubting that the bolder statements in her collection are all the better for her daring, and prove that the deeper she searches and the better her control of both palette and temperament, the more visible her work becomes.
• Life Forms is at Cleland & Souchet, Portomaso, until March 31. Viewing: Monday to Friday, from 9.30 a.m. to 1.30 p.m. and from 4 to 8 p.m; Saturday: 10.30 a.m. to 1.30 and from 4 p.m. to 8 p.m.
Each time a neo artist brings forth artefacts in exhibition, there is a kind of gingerly attitude and usually a diverging variety of works is exposed in a willy-nilly presentation. But this painter has determined her works should evolve uniquely around the two themes she likes best - flowers and female bodies. And within her 24 exhibits, there is nothing more, nothing less.
The flowers are bold and take a strong flower power slant - starting off from two small flower vases that are daintily depicted in the manner of an impressionistic innuendo, and moving on to Poppy Field, a spring-time exercise in perspective that catches attention with its strident red. A similar work shows fields of tulips and once again Ms Borg Cesareo utilises the knife technique excellently.
"Whenever I use this technique, I feel I cannot stop my painting half-way through and so continue working till I have completed the canvas, even if it means working till the dead of night."
Other paintings are more dramatic in character and the painter makes a bolder statement in her use of colours, such as in the huge floral painting of red tulips, or within the lovely mix of spring colours of pink, yellow and orange meeting again in another largish canvas.
Looking out on her own garden or walking in the countryside offers enough inspiration, although some of her works are studies of small parts of larger works.
This young mother is visibly excited about her work and also speaks incessantly about her infant daughter. Her fledgling motherhood can be felt stridently in her depiction of Mother and Child - a simple study in browns and line drawing which is very well delineated. But one question springs forth - why choose to paint specifically female figures? "I love experimenting with curves. When I paint I tend to use my whole arm and not simply my hand. The female body is excellent as a scenario for such movements." And it is with wide sweeping, rather grandiose movements that she continues to experiment with colour, alternating mood and stance in rich strident comparisons.
Starting painting as early as the age of 12, she was prompted to take up her studies by the reknowned marine artist Edwin Galea. Eight years of training in fine art under the tutorship of Matthew Cassar inspired her to take on further training in interior design. While she initially preferred to keep most of her work "private" and only painted for family and friends, she has now decided to bare her soul and provide a whimsical take on the more feminine aspect of her character. There is no doubting that the bolder statements in her collection are all the better for her daring, and prove that the deeper she searches and the better her control of both palette and temperament, the more visible her work becomes.
• Life Forms is at Cleland & Souchet, Portomaso, until March 31. Viewing: Monday to Friday, from 9.30 a.m. to 1.30 p.m. and from 4 to 8 p.m; Saturday: 10.30 a.m. to 1.30 and from 4 p.m. to 8 p.m.