The landscape, a certain vision of the infinite
Janina Lamberty – Inspiration Catalonia
Landscape, this can be the environment and a dazzling vision, the representation of nature or a projection of an intelligent experience. Are these contradictory definitions? For the artist landscape has always been a means and a way of expression; a vast topic that can explain everything. It is a vehicle to show concrete ideas, actions, or simply the environment in which the artist lives, feels immersed and touched.
With this exhibition of recent works by Janina Lamberty we present this global idea of landscape. The simplification of forms symbolizes greatness; and also of her gradual integration into a new landscape where she travels and lives. The exhibition is a journey, a long path, which she is still following until her arrival in Barcelona. She has left behind the colors and shades of the northern lights.
Barcelona, the Ebro delta, Cerdaña, Ampurias, Montserrat…… areas, places, customs and different climates. Physical realities which for Janina Lamberty cease to be and turn into icons: images, colored mosaics, volumes suspended and structured by a geometrical color scheme. They all become references for a global view of the landscape. It evokes a vision. It reminds of a thought by Estela Ocampo with respect to the painting “autumn, cliffs and the rivers” by the Chinese painter Houei-Tsong (1082-1135): “The landscape is painted with a wide perspective that transforms rivers, mountains and forests into miniatures. It is the vision of the infinite.”
This idea of the infinite, and also of timelessness, pervades all of the recent works of Janina Lamberty; it actually expresses the origin of her depiction concept, a figuration initially caused by the attraction of landscape and terrestrial geology. In her sketches and passionate realizations she reaches the purest abstraction using the most essential geometric shapes: the verticality, the rectangle, the cylinder, the dot and the line. Color is another element to achieve the intended expression of the painting. Shades of blue, green, ochre, red and earthy hues; all of them diluted and edited, sometimes effectively, on other occasions insinuating.
The use of Japanese paper in almost all her works conveys fragility and combines with gouache and ink; gives warmth and extreme sensitivity towards the other elements that have always been considered harder and stronger: the line and geometry. The thickness of paper, which sometimes is achieved through numerous layers, gives depth to the picture and transforms it into an object. The deliberate omission of frames for the large works helps us to feel this transformation. The painting moves beyond two-dimensionality…
The art installations of waterfalls are no representation, but a visual and chromatic composition of water. It might also be that music falling without cadenza. It is a rhythm that suggests movement and the persistent vision of one moment after the other, due to the light movements of colorful tubes or sticks. And it seems that time does not exist, or it simply reminds us of the fragility of things, or maybe of that eternity made of small magical moments, like those we feel breathing in a forest after the rain, or swimming in the transparent water of the Mediterranean Sea after a long period of imprisonment. It is a point in the infinite where you can let the spirit flow. And by this simple means, perhaps, art promises us all of these possible miracles…..
Montserrat Carné Penalva