Lewis Zammit is a painter of note, but not one who likes being in the limelight. Rather, he is more of the self-effacing type who exhibits his work rather infrequently, but who is always well-prepared before showcasing his new collections, as it should be.

Composition XXXVI

Originally from Siġġiewi, Zammit moved to Mellieħa, where he set up home with his wife and where he also gained inspiration for some of his artistic work. It is in quaint Mellieħa that Zammit recently chose to exhibit his latest collection of abstract paintings.

Mellieħa is also where Zammit has frequently shown his artistic capabilities, such as his successful experiments in anamorphic art in the streets and public staircases of the village. Living in a village, or small town, has not stopped him from dreaming big.

Excluding the collective exhibitions he took part in, Zammit’s last solo exhibition before this took place in 2009 and was an intimate collection of non-representational watercolours titled Freescapes, displayed at The Palace Hotel in Sliema. And, his last major exhibition, Passages, was held in the lower galleries of St James Cavalier early in 2008.

The year that has just ended marked a new chapter for the artist with Allusions, an exhibition of 20 medium-to-large, oil-on-board, abstract paintings. With this collection, what Zammit is alluding to is a dreamed up world that he wishes he could escape to.

Composition VIII

Among the works exhibited, Composition VIII was particularly striking and stood out from the rest. The work is composed of an earthy palette and roughly horizontal lines that converge towards the right, where vertical lines ascend beyond the confines of the panel support. The original source of inspiration for this work is likely to have been the local landscape, but the vertical elements defy gravity and transcend any imagery that can be derived from nature. This work is, in my opinion, this collection’s tour de force.

Although all the pieces in this collection are abstract, this exhibition still presented an array of styles by a mature Zammit. While sfumato features in Composition VIII, it is much more emphatic in works such as Composition X, that employs this technique throughout the painted surface.

With this collection, what Zammit is alluding to is a dreamed up world that he wishes he could escape to

One cannot doubt Zammit’s artistic talent and penchant for innovation. In a similar way, one can safely connect some paintings on display with abstract compositions by the late Alfred Chircop, Zammit’s first art mentor in 1986. Among these is Composition IX.

In this painting solid spheres and lines are once again smoothened over by blending each of these forms into each other and into the lighter background. Although still de-tectable, Zammit’s connection to Chircop is, however, now generally less conspicuous than it was in Zammit’s earlier pieces.

Composition X

Composition IX also happens to be the painting with the chromatic scheme and was adequately prominently displayed.

Composition XXXVI is executed in a colder palette, but is very fluid in comparison. Composed of broad strokes streaming from one end to the other. The phrase “Fluidity is serenity. Serenity is fluidity” features next to this work, highlight-ing the importance of the gentle swaying in this painting to the artist.

The exhibition boards are dotted with such art-related phrases and quotations. These words must have been meaningful for the artist during the production of these paintings that were executed largely between 2011 and 2015, with the exception of Composition XXXVI, which was executed in 2008.

Reading through these brief excerpts helps the viewer understand the artist’s state of mind when executing these non-representational works of art, although they are not necessary.

From a curatorial point of view, limiting the exhibition to 20 works was a very good idea, allowing enough breathing space between one painting and the next.

Zammit has made a humble return to the local art scene as a reputable abstract painter, one who is keen to discover the world around him in the privacy of his studio and which he does for his own sake and pleasure.