The Malta Independent on Sunday
Colour, in the title, on the walls
As I wander around the exhibited paintings, I notice how the colours seem to sing to me. You know, colours may be just colours, tints on a page or piece of canvas, but when you observe them closely, each one seems to have a spirit of its own. Endless studies have been made and even more books written about the character of colours. Some colours speak softly to you; others pop out at you; a few scream loudly; some more tend to sit quietly and wait, very patiently. Adrienne Cassar’s colours sing, spontaneously, at least that is my impression. And suddenly I realise that music is missing and I am still undecided as to which genre would have suited it best.
She wears beige and black as she speaks to me about her paintings and about the inspiration that has led her to produce, over the past two years, all that The Colour of Time is. As we discuss, surrounded by her 25 paintings, I cannot help but observe the stark difference between the unassuming, quiet clothing and the joyous splashes
of colours she uses in her art. Nonetheless, as her eyes twinkle above her face mask, I recognise snippets of mischievous amusement, which explains a lot.
I look carefully at each painting, yes even at the one entitled After the Rain. It is the only one which hints at bad weather and seems to have been intentionally hung at a tangent, away from immediate view. Apparently Cassar does not particularly like it, but I find
it attracts me profoundly. For its simplicity, for its exceptional depiction of the after-effects of a downpour. I can nearly feel the fragrance of wet ground and muddy shoes. Its subdued hues speak of a damp and sad sky, but some touches of warmth promise a sudden burst of sunshine. Somehow I am absorbed by it and by its intensely reserved character.
Curator Roderick Camilleri re
calls how he came about curating Cassar’s exhibition. “I have known Adrienne for a long time. We’ve been good friends since my early student years at university. When she asked me whether I would be able to curate this collection, I accepted eagerly. We started working on various aspects of the exhibition until we arrived at its final realisation.”
Cassar’s palette is fresh, soft but not demure. It is alive and vibrantly gentle, delicately selected but not frilly at all. There are the strong brushstrokes throughout, determined and at times pragmatic, as in her depictions of industrial scenes, especially her Freeport Skyline. This painting happens to be somewhat similar to Camilleri’s favourite in this show; another nocturnal and industrial painting entitled Night Lights, as he explains, “It is a particular work representing the Freeport and is surely one of the most direct and forceful works. The spontaneous arrangement of unflinching black lines is animated by the pervading lights and reflections which emanate from within the composition. It is truly an alluring image that captivates the viewer by its immediacy. It stands out.”
It is evident that Cassar carries deep within her being, what she absorbed of her father’s artistic persona. The daughter of Carmelo Mangion, who was a true and exceptional artist at heart, she has absorbed traits of inspiration that emerge, naturally, as part of her expression. Camilleri comments: “The collection in general recalls different elements which are present in Carmelo Mangion’s work. For instance, the vigorous rendering of the brushwork, the typical representation of the Maltese skyline, defined by the distinctive baroque church domes in the background of some compositions and the representation of industrial constructions and structures – all aspects that might be connected with her father’s iconic oeuvre.”
She is matter-of-fact in her choice of spaces and places, but romantically steers away from anything remotely intrusive in the very poetic, nostalgic Maltese streetscapes and landscapes. Albeit her few industrial scenes, she seems decided to hold on to what makes Malta, Maltese. Cassar has purposely left out what could detract from the picture postcard perfect views of Malta, in instances creating scenes which leave a lot to the imagination.
I also note Cassar’s predilection for very high horizons in her oil paintings. High horizons – a decision taken subconsciously, allowing her more scope to experiment with the colours of terrain. Where her sky is bigger than habitual, it is purposely splashed with all the colours which typically amaze us during majestic sunsets. And then her blues – all the variations of blue possible, all very fittingly selected to suit the diverse scenarios. Her Birgu Waterfront reflects blue, but so does her Kalkara Creek, although the latter is of a different temperament. I tend to like her rambling country scenes, occasionally pastoral in character. Except that, there is no human or animal life anywhere in sight, not even a flying buzzard. It is all very colourful, very still, yet very melodious – a passage of time depicted in brushstrokes. Her lanes are empty, but her colours are definitely not.