Arthur Lemaitre

Could It Just Be An Illusion?

Galerie ISA is proud to welcome Arthur Lemaitre (b.1994, Burgundy France) for a solo show titled ‘Could It Just Be An Illusion?

Lemaitre is known for his use of classical drawing and oil painting to illustrate the borders of realism and surrealism, nature and architecture, past and future, terrestrial and celestial, light and shadow. His landscapes are poetic; the organic, uncertain lines and forms of the natural world offer a contrast to the stark linearity and repetition of cityscapes. The confrontation and clash of these two elements creates a strong vibrational energy.

As a student in Paris, confronted with limited intimate space vis a vis the immensity of the city, Lematire found expression that in this new series takes on the form of large utopias lost in mountain landscapes; round, contemporary forms; windows and black borders borrowed from paintings of the Middle Ages.

The graphic style is inspired by 18th century engravings (a signature of ancient Rome) but rather than focusing on the dystopian aspect of ruins, these new works, through architectural forms, focus on a future that is dynamic, thriving and prosperous. Lemaitre, who is inspired by the principles of engraving promoted by Piranesi, Albrecht Dürer and Gustave Doré, as well as contemporary artists like Gérard Trignac and Laurent Gapaillard, for their detailed landscapes and contrasts. Lemaitre uses fine felt tips in black ink on Indian Khadi paper, the handmade paper offering him the freedom to create nuance and variation possible. For the paintings, he turns to the principles of the masters (namely Van Eyck, Da Vinci, Brueghel, Turner and John Martin), applying a succession of different layers of transparent paint, starting with turpentine mixed with a few pigments, a light foreground sketch, the application of linseed oil or a glaze, and then gently contrasting the elements as the layers are painted.

There are no human figures in Lemaitre’s works and the artist wishes for the viewer to interpret proportions as they wish, imagining dimensions or scales of their own choosing and in turn designing their own dreams. A fascination with Capriccio, the stylistic device that combines real elements with the fantastical, colours all of Lemaitre’s compositions.

It’s through keen observation that the viewer can discover new elements by raising questions—’What is real, and what is an illusion?’ ‘Is that building really levitating? Is this even architecturally possible? Are the mountains in the background accessible or are they bigger than the biggest mountains in the world? Perhaps the utopia represents end at the edge of the canvas or perhaps it is only a tiny representation of what really is?’

Each viewer must be able to continue their own story through what they see, making Lemaitre’s works and the resulting dreams that arise through them uniquely personal.

Priyanka R. Khanna