Lawrence Pavia, Għarb, Gozo.

An exhibition in the restaurant-gallery Capo Tavola – Il Gusto nell’Arte by James Vella Clark, shows him flirting between landscapes and abstract compositions.

Lawrence Pavia’s series continues his analytical exercise in dissecting a landscape into shapes and forms, and minimising what is portrayed- Charlene Vella

The works span a period of about 10 years, but it must be emphasised that most works were the product of the last four years of artistic activity.

What strikes you most are the bold forms and colours, which are what we have come to associate with the artist. They exude both self-confidence and dexterity with the brush.

Under the flag-name ‘Interim’, the exhibition is an intimate selection of 12 paintings.

The collective title is subtly suggestive of a bridge between what the artist has produced over a decade of activity, and an insight into his ongoing development. You are given the opportunity to assess his progress, and this makes it, in a way, a mini retrospective exhibition.

It is significant that my visit to the exhibition comes after a study visit to New York and the Netherlands, that provided me with a unique opportunity to come to meaningful terms with the art of the great masters, including modern and contemporary ones.

Coming in the aftermath of such an artistic saturation, I am happy to say I found ‘Interim’ a stimulating experience that did not disappoint.

Vella Clark’s colours fluctuate from the very warm to the cold. And this sometimes occurs in the same composition, such as in The Four Seasons and Village Under Yellow Sky.

The bold forms and colours are most striking in James Vella Clark’s works.

Vella Clark’s works, even when it comes to landscapes, steer clear of the saccharine. He avoids prettiness for its own sake, as is unfortunately the case with some other artists.

Taking Lonely Church as an example, the church dome towers over the vertical composition, but it is atypical in many respects. Furthermore, the harsh light and shade contribute to its dramatic and forceful impact.

The luzzu, which is a ubiquitous feature in paintings featuring Malta, is also portrayed with a different breadth in Boats in Marsascala. This painting is remarkable for its forms, that although partly outlined, are malleable and provide it with movement.

The application of colour is well thought-out, as can be seen in Village Street in Żejtun. Here, his application of reds and ochres generates heat and warmth with remarkable effect.

I can imagine expressive painters during their most intimate moments with their canvas, when they are at their most creative. Just think of the excitement in the instant when paint is being layered onto canvas, when not much else matters but the relationship with the artist’s tools and the cerebral image.

Romantic as it may be, there is an element of truth in this, and the result is a fulfillment that we can only comprehend when looking at a finished work. And with such expressive works, it is important that the artist knows when to stop, and proclaim the work complete.

At that moment when success is achieved, the artist is endowed with a profound sense of being; that of a creator, traces of which can only genuinely be felt through his work. No amount of words can replace the importance of what has been produced. And the artist can, or should, let his work do the rest of the talking.

The contrast in composition and use of colour between one artist and another is amply evident when thinking about a second ongoing exhibition, this time in Gozo, at Art..e Gallery.

‘Encounters in Art’ is a joint exhibition of paintings by Lawrence Pavia and sculptures by Emilio Vilaseca. within which, the unifying factor is the meticulous use of colour.

Spaniard Vilaseca makes use of objet trouvé to create sculptures that require vision and skill. Pavia is further elaborating on his hard-edge landscape series, becoming ever more sensitive to colour, ranging from warm to cold, as mentioned in the Vella Clark exhibition.

Pavia’s current series continues his analytical exercise in dissecting a landscape into shapes and forms, and minimising what is portrayed.

In these paintings, the area which allows for expression to make itself felt is truly in the fictive colour schemes that Pavia bestows to his compositions. But how different are the works of the artists here mentioned.

I am talking of artistic styles that vary drastically, and there is space for it all. But as much as I enjoy the presence of colour in art, especially when applied sensitively, it is the way in which it is applied that leaves most impact.

I cannot help but feel that with each expressive brushstroke, a painter leaves an indelible mark on the surface, which reaches out to the viewer, and which helps enhance his or her experience.

James Vella Clark’s ‘Interim’ at Capo Tavola - Il Gusto nell’Arte in Marsascala is on today.

Emilio Vilaseca and Lawrence Pavia’s ‘Encounters in Art’ is open at Art..e Gallery, Victoria until April 29.