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Architect Lawrence Buttigieg is one of Malta’s leading artists and he has been so since the 80s. Over the past five years Buttigieg’s interest in portraiture has been focused on the female nude form. The female body was the main theme of his more recent personals held at the Corte Capitanale in Mdina (2002) and at the ex-Chiesa di San Marta, Piazza del Colleggio in Rome (2003). At his current exhibition at Gallery G in Lija one can view the artist’s more recent development in his representations of the female body.
Buttigieg considers his shift of attention from portraiture to the nude as a natural consequence of spending several years painting the clothed human figure. He feels that he had come to a point where he had to focus on the human stripped down to the lowest common characteristic, the naked body. Buttigieg often sacrifices hours of sleep to find the time to paint and MaltaToday caught up with him this week.
What inspired you to be an artist, any family influence?
Although I had no particular influence from the family, my favourite pastime as a child was drawing. It was a natural talent which my parents encouraged me to pursue. I have always been fascinated by the ability of the artist to be creative. When practicing art, the greatest satisfaction one receives is the knowledge that you are creating something which is totally yours.
When you are not painting, what occupies your time mostly?
I have a full time job so it is not a question of what I am doing when not painting. It is rather a question of how I manage my limited free time. Every day it is a question of balancing work, family commitments and art. I usually paint in the evenings and try to commit at least two hours a day to it.
You have often exhibited abroad. What has been the response to your art?
The response has always been great. In recent years I have exhibited twice in Vancouver at the Federation Galleries of the Federation of Canadian Artists. In 2003 I showed a small collection of paintings at the Chiesa di Santa Marta, Piazza del Collegio Romano, in Rome. Unfortunately the financial burdens involved tend to dampen the artist’s enthusiasm for such activities.
What is your painting process, and what are you after when painting people?
Throughout the painting process I give particular attention to volume, colour and space. I am particularly aware of light and dark areas which I then translate into bold and calculated dabs of colour. I start off with the predominant areas first and then continue with the smaller ones. Once the figure is recognizably established on the canvas, I become more cautious with my brushwork.
Portraits are not simply concerned with faces, or nudes with naked bodies. Both are concerned with the representation of individuals. The whole body reflects the inner being and close observation of the epidermis is a way of getting access to it. In the case of a clothed person, the covered parts of the body lose their potential of direct expression. My representations of people are meant to be a balance of physical form and feeling. I slip my view of the sitter between the layers of paint. The multitude of colours I use is meant to be the colours of life which render likeness and personal stylisation inseparable.
With regard to my nudes, these are the result of a male’s gaze on the female body. Through painting, the raw and informal body undergoes a transformation which is influenced by the sexual orientation of both artist and subject.
Do you paint to please people or are you a mortal trying to create the immortal?
Painting to please people means that you produce art which sells easily. This is definitely not my case. I do not consider painting an easy task. I put my soul into it. The most common concept of a portrait or nude is a naturalistic account of a person as seen. People are aware that a person’s appearance changes continually but hope that the artist manages to provide an average likeness. When it comes to determine what constitutes this likeness many would be at a loss - likeness has its limitations. A good representation of a person, whether it is a portrait or a nude, is a search for essential truths. One has to focus on the heart, mind, passion, and temperament of the individual. These constitute the character or essence of the individual. If the artist manages to take these into account then a timeless representation of the individual is achieved. It’s a record which goes beyond the instantaneous image of a photograph.
Have you done abstract art? Do you see yourself moving in new directions?
Currently I am not motivated to do abstract art. I am a representational artist and I believe I will remain so for the time being.
Which artists inspire you?
Pierre Bonnard, Balthus and Euan Uglow amongst others. Considering Bonnard, I am attracted to the way he composes his pictures and the frankness with which he depicts his nudes. In my own paintings I try to emulate the sensual use of light which makes his work so unique. With regard to Balthus, I am fascinated by the way his nudes are loaded with psychological significance. I admire Euan Uglow’s approach to the female body. It seems that his overriding concern is how the subject’s body interacts with light. Over the years Uglow developed elaborate methods to ensure the exact transfer of the subject onto the canvas. His sharp drafting skills and controlled use of colour are evident in all his work.
Can you tell us something about your current exhibition?
In many ways the exhibition at Gallery G, Lija, is a continuation of the one held in 2002 at the Corte Capitanale in Mdina. Here I want to show the viewers the development which has taken place in the last few years. I believe my nudes are a celebration of the beauty and sensuality of the female body. I would be glad if the viewers feel the same about them.
Any future plans?
Hopefully an exhibition in Australia.
If you could change three things about Malta what would they be?
With regard to the country in general, tidy up the place and provide public transport of such quality and service that it no longer makes sense to use your own car to move around. Turning to the local art scene, have an arts centre where the architect’s interventions do not need to stand out so much. Unfortunately with the one in Valletta the eclectic interventions on the historic building tend to overshadow any art work which enters the place. Just have a look at Tate Modern in London and MACRO in Rome and you will know what I mean. In such places the main protagonists are the exhibited artworks and not the building proper.
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