‘A stranger in your land – early figures’ is Sean Gabriel Ellul’s second solo exhibition in the space of a few months.
The most striking features are the face that are extremely prominent and condition the composition- Charlene Vella
This exhibition at So Galerie has been skilfully promoted, which gives Ellul an edge over other artists trying to assert themselves in an art world that is becoming increasingly competitive.
‘A stranger in your land’ consists of works that were produced in Vancouver and Malta some 10 years ago.
It is therefore, in a way, a retrospective exhibition, the sort of thing one usually presents when one is sufficiently mature and established.
The series of nude figures painted on board or on canvas, and three drawings/sketches, have been collectively grouped under the title ‘A stranger in your land – early figures’.
It was only last year that Ellul made an impact on the local art scene with an exhibition of paintings entitled ‘Paradise Lost’ at the Auberge d’Italie.
I commented positively about that exhibition for Ellul struck me as an emergent painter who has the ability to develop into a significant artist.
However, I had mixed feelings about the ‘early figures’, which are growing on me. This may be because I expected to see development in his artistic language as a second exhibition.
The exhibited works do, in a way, relate to those presented in Ellul’s first exhibition. To give just one example, the face of the Seated Youth is reminiscent of the ‘Paradise Lost’ faces.
There are, however, differences. This is to be expected considering the 10 years that have elapsed between the paintings on display and those exhibited last year.
What is of interest in the present exhibition is the raw expression used in the execution of the human figure – an intuitive and far from realistic rendition of the human form.
The figures fill the entire picture plane, contorting uncomfortably to do so. There is an acute sense of horror vacui (fear of empty space) throughout.
The figures are meant to show the intimacy (and what better way to do this than by exploring the nude?) and the solitude-like nature of being. The imagery, together with the title, made me feel an intruder in this raw world of intimacy, a world intended to encourage you to explore who you are.
The translucent use of paint and the broad brushstrokes add to the uncertainty of the world being envisaged.
The most striking features are the face that are extremely prominent and condition the composition.
Many of these are bestowed with an element of the primitive that is a characteristic of African masks. The faces have large pronounced eyes and eyebrows that form a bridge with the nose.
The most memorable work in this series has to be Lady Muraski I.
Knowing that these works were produced a decade or so ago, it is understandable to see a different expression. Nonetheless, one cannot help but reflect on this choice of exhibits.
I concede that there is interest in what is being presented in this exhibition. This is especially true for the raw expression of the figures, which is suitable for the theme.
On viewing this second exhibition by Ellul, two facets of the artist seem to emerge. The first is a sophisticated Ellul who can produce bright yet mysterious paintings; the second, an expressionist Ellul.
Although intrigued by the latter, I would have enjoyed more of the ‘Paradise Lost’ paintings, or an expression that evolved from it. Having said this, Ellul enjoys exploring the intrigues of the human condition, and shows he is exploring it through different means over time.
‘A stranger in your land – early figures’ is open at So Galerie, Iklin until Friday.