Mosta Bridge 2013.For the next few days, a collection of landscape executed in painting and etching by Jesmond Vassallo, will remain on display at Opus 64 Galerie in Sliema.
What is displayed is quite a disparate set of landscapes. Firstly, the landscapes include not only local views, and, secondly, the views, atmosphere, perspective, and brushstrokes are all askew, sometimes literally so.
Bold and block colours make up the painted scenes, with the Mosta valley and its bridge featuring predominantly in the collection. The obsessive return to the same theme on different-sized canvases or boards is explained by this being the view from Vassallo’s studio. But the scene, although recognisable, is constantly re-interpreted, by day and night, in the mist, and so on.
The repetition of the same scene or theme often becomes a fascination for artists and collectors. The mastery is evoking that which is experienced in different times and atmospheric conditions.
A large painting of the Mosta valley is infused with green and red hues. The trees are particularly depicted with the minimum amount of brushstrokes, that is, with simple strokes laden with colour and a bold dark line that gives it form. This element recurs throughout the collection, providing a certain continuity.
One of the most successful paintings is a square work depicting Mosta valley with tormented and agitated dark strokes, revealing hints of landscape and colour beneath.
The brushwork is often hastened and sweeps across the composition. This recurs whether a painting depicts Mosta, Mġarr, or Gozo, or even Lithuanian landscapes, for these too constitute part of this exhibition.
A scene of the gentle undulating hills in Druskininkai, Lithuania, evokes calm with its two trees in the foreground, a row of trees in the distance, and the gentle sky and grass.
The repetition of the same scene or theme often becomes a fascination for artists and collectors
It is a pity that the title piece of the exhibition, which was used for the invitation poster and invitations, was not included in the exhibition. This seemingly windswept, almost monochrome, landscape with a lone foreground tree seems to have been one of the more successful of the painted landscapes, the quality varying among the others displayed.
Some of the landscapes sometimes evoke a sense of the naive in their execution, which is not a bad thing. This is similarly reflected in Vassallo’s etchings, which are the highlight of the exhibition. Some of our great contemporary artists have perfected this technique, and the younger generation has a lot for which to thank artists like Pawl Carbonaro, for igniting their love for this intriguing, yet laborious, artistic technique.
The etchings in the exhibition, all limited edition prints, range from the monochromatic to others with a varied palette, and they can be very linear and calligraphic.
Blue and its complementary colour yellow are cleverly and effectively juxtaposed in Alba. And colour continues to boldly complement the scenes with the inclusion of fuchsia in landscapes that contrasts with the blue sea and sky. Or at times, a pinkish hue will take over the land and sky, to create a dreamy scene such as is Mosta I and Mosta Bridge II.
The inclusion of foreign landscapes is quite innovative in this exhibition, as is the manner in which they are portrayed; that is, not the usual traditional scene, mood or palette. What is also a welcome addition is the inclusion of etchings for which Vassallo, and many other local artists practicing this art, deserve commendation.
Landscapes is open until Wednesday at Opus 64 Gallery, Sliema.