Msida Creek

Valletta-based Danish architect Rune Bo Jakobsen has been making a name for himself not only as an architect, but also for his art work. His 2013-14 giant Popcorn series of concrete sculptures were fun, but also meaningful.

A smaller version of one of these sculptures featured in a solo exhibition, largely of paintings, titled Two Cities that showed at Palazzo de Piro, Mdina.

This was the concrete Stellar Popcorn. In these works, the rounded cushion-like forms defied the robustness of the material used, making it a visual play on texture and tactile qualities, as well as form.

The architect’s vivacity and joie de vivre was evident in his paintings. In these paintings, that were the main focus of this exhibition, it emerged clearly that Jakobsen was here more enamoured by colour than anything else.

There was no hard edge visible in any of these works. Each one of the compositions was made up of layers of colour.

As the exhibition title suggested, it largely dealt with two of Malta’s historic cities: Jakobsen’s current hometown of Valletta, and Mdina, where the exhibition took place.

A bright palette distinguished all of the paintings executed in acrylic or oil on canvas.

The colours were clearly inspired by the landscapes themselves, but the chromatic scheme was greatly accentuated for dramatic effect and to increase the desired mood. One striking instance of this was the large Valletta Sail.

What’s more is that the scenes did not only portray the Valletta and Mdina on sunny days. Agitated skies, clouds, and rain were as important a feature in this collection.

And they were not the usual city or town views either. Colour and form were masterfully handled in Valletta ta’ Sliema.

The architect’s vivacity and joie de vivre was evident in his paintings

The large square canvas depicting Msida Creek with Valletta in the background wass executed with bold brushstrokes and daubs of colour.

The portrayed forms – sailing boats, masts, architecture – may have appeared to be mere excuses for the composition.

This was more so the case in Alley of Light, where the narrow street and its buildings were abstracted, making the subject unrecognisable.

Valletta Reflections. Right: Embryonic Horse.

Broad and quick brushstrokes were indeed a characteristic feature in this collection of paintings. In Valletta Reflections, buildings, cars, the diagonal road and the human form, were made up of the quickest of strokes.

Expression is ample and heightened in Mdina Oil, an easel painting where a cold and warm palette met, and where the scratched surface added to its emotion.

Although he may sometimes get carried away and lost in the moment, Jakobsen has surely revealed to be an experienced colourist. He has, moreover, displayed his ability at working with a variety of media: large steel sculptures also animated the exhibition space. Yet, the highlight was most definitely a work in bronze.

This was the Embryonic Horse that was immediately visible on entering Palazzo De Piro.

As the title suggested, the horse was in a crouched, foetal position. It lay on its back, perfectly balanced, still, yet there was a lot of movement in the piece. This was a result of the manner in which the horse’s agitated front and rear legs, his tail, and the tilt of his head were portrayed.

Like the paintings in this exhibition, albeit recognisable, the horse’s features were abstracted, and had a lot of texture. Malta has definitely gained by the presence of Rune Bo Jakobsen choosing Valletta as his base.