GILDING

CAB Gallery & Studio’s most recent show, Gilding and Exhibition of New Work by Thierry Lamare was another exceptional display of Lamare’s highly sought-after, descriptive compositions of the Bahamian landscape, its people and the richness of the culture. This major suite of new works bring together a selection of Thierry’s exceptional strengths as a portraitist master and painter and is a shining example of his ability to translate and express powerful emotional landscapes and intricate relationships through a delicate but deliberate use of palette and space.

What makes this show particularly exciting is his recent diversion from his signature take on portraiture with the addition of gold, copper and platinum leaf. This striking new glimmer underscores and exemplifies Lamare’s ability to expand further and have two elements working in tandem in complete artistic synergy. Lamare’s gilding debut was greatly anticipated and tremendously applauded at the opening. Guest stood in awe, looking on at the stoic faces staring back at them, illuminated with a flickering, metallic note that seemed to very much belong. Lamare says that the inspiration for the gold leaf was inspired by the film ‘Women in Gold’ which is the story of Maria Altmann taking on the Austrian Government in an attempt to recover a famous painting of her aunt, Adele Bloch Bauerpainted by Gustav Klimt that was stolen by the Nazis during WWII. After being very moved by this story and painting, Thierry decided then that he would try to include metal leaf in his work. After “a few timid attempts and four years of readying my mind” Thierry perfectly and, “Gilding”, is the result of this beautiful metallic journey.

Lamare is acclaimed for his exceptional ability to build deep, highly emotive and incredibly realistic renderings of his subject matter whether it be of a beloved muse, an architectural treasure, or the perpetual blues of our Bahamaland. His works have become landmarks for Bahamian portraiture. His apparent affinity for the seemingly unremarkable is perhaps what gives the work its magic. Having traveled throughout the country in search of inspiration he found himself drawn to life in the out islands – to its humble simplicities, the inner compulsion to know and sketch them, Lamare’s career has followed a few central characters that his audience have quickly developed a deep respect and admiration for. Lamare’s intrinsic fascination for the Bahamas is something that cannot be taught nor emulated, it’s deep and within him and is meticulously encapsulated in each and every one of his pieces.

There was a new, prominent face amongst the works – that of Kendal Hanna. Kendal, a forefather of Bahamian abstract expressionism and a beloved member of the art community, got to know Lamare during a period when Kendal was in very poor health and had been given months to live by his doctors. His condition had deteriorated to the point where he was bedridden. Thierry and his wife, Joie, were amongst a small group who visited regularly. Incredibly, defying all odds, Kendal’s condition began to improve and his desire to paint again grew. Within a few weeks to everyone’s astonishment and complete elation, Kendal was requesting canvasses and his brushes and started painting his next series from bed. Over these months Thierry and Kendal struck up quite a bond and the sketching began. Lamare recalls Kendal being immensely intrigued and flattered at the idea of being sketched. Thierry’s deep and profound fondness for his subjects, in this case, Kendal, is so apparent when studying the work. He captures the very essence of Kendal in this series of soulful, impassioned portraits. Kendal was deeply touched and honoured to be a subject of Thierry’s. Now 86 and in much better health, Kendal arrived at the show dapperly dressed and made his rounds, studying the collection with a quiet smile and the warmest eyes.

The creative space is a special one, evolving eagerly without confines. This show will always stand out in more ways than one. Congratulations to Thierry Lamare and to CAB Gallery & Studio for yet another exceptional show!

Emma Liddell

Omar at Sea  2022
32″ x 48″ – 81cm x 122cm
Watercolour & copper leaf on canvas 
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Last Study for Omar at Sea  2022
20″ x 32″ – 51cm x 81cm
Watercolour & copper leaf on lokta paper
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Omar at Sea Drawing #1 2022
6.5″ x 11.5″ – 16.5cm x 29cm
Gold leaf, charcoal, black ink & casein lokta paper
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The Conversation  2022
31″ x 47″ – 79cm x 119cm
Watercolour & copper leaf on canvas 

Kendal in Gold  2022
18″ x 30″ – 46cm x 76cm
Black ink, casein & gold leaf on Aubier paper
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Kendal Sunlight 1st Day #2 2022
20″ x 27.5″ – 51cm x 70cm
Charcoal, black ink, casein & northern celestial leaf on lokta paper
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My Boss Shirt 1st Drawing 2022
24″ x 18″ – 61cm x 48cm
Charcoal, black ink, casein & gold leaf on Strathmore paper
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Kendal from SB #5  2022
10″ x 7″ – 25cm x 18cm
Charcoal, black ink, casein & gold leaf on lokta paper
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Kendal from SB #6  2022
9.5″ x 7.5″ – 24cm x 19cm
Charcoal, black ink, casein & gold leaf on lokta paper
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Kendal from SB #8  2022
10″ x 7″ – 25cm x 18cm
Charcoal, black ink, casein & gold leaf on lokta paper
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Kendal from SB #7  2022
10″ x 7″ – 25cm x 18cm
Charcoal, black ink, casein & gold leaf on lokta paper
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My Black Boss Shirt  2022
30″ x 20″ – 76cm x 51cm
Watercolour & copper leaf on Somerset Paper

Golden Corn  2022
79″ x 42″ – 201cm x 107cm
Watercolour & gold leaf on canvas 
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Ophi Portrait study for Golden Corn  2022
28.5″ x 16.5″ – 72cm x 107cm
Watercolour & gold leaf on Strathmore paper
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Ophelia Living Room Stories SB #1  2022
8.5″ x 8.5″ – 21.5cm x 21.5cm
Charcoal, black ink, casein & gold leaf on lokta paper
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And Who Might You Be? SB #1  2022
8.5″ x 12.5″ – 21.5cm x 32cm
Charcoal, black ink, casein & gold leaf on lokta paper
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I’m Not Too Shabby #2  2022
30″ x 20″ – 76cm x 51cm
Gold Leaf, charcoal, black ink & casein on Somerset paper
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St Patrick in Gold #1  2022
23″ x 14″ – 58cm x 35.5cm
Gold Leaf, charcoal, black ink & casein on canvas
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Ernest’s World #2  2022
13″ x 22″ – 33cm x 56cm
Charcoal, black ink & casein on Somerset paper
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Ernest’s World #1  2022
13″ x 22″ – 33cm x 56cm
Charcoal, black ink & casein on Strathmore paper
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Sweet Ada  2021
30″ x 20″ – 76cm x 51cm
Watercolour on Somerset paper

 Study Sweet Ada  2021
19.5″ x 13.5″ – 49.5cm x 33cm
Watercolour on lokta paper
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Gone Fishing Project #4 2022
16″ x 13″ – 41cm x 33cm
Gold leaf charcoal, black ink & casein on Strathmore paper
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Gone Fishing Project #8 2021
17.5″ x 23.5″ – 44.5cm x 60cm
Charcoal, black ink & casein on Strathmore paper
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Maurice Joseph study for So Close Yet So Far  2022
20″ x 14.5″ – 51cm x 37cm
Gold Leaf & watercolour on card
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Getting Shallow  2022
35″ x 19.75″ – 89cm x 50cm
Gold leaf & watercolour on canvas

Peering into Bahamian Waters  2022
21.5″ x 13″ – 55cm x 33cm
Copper leaf & watercolour on paper
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Balduccino’s Pumpkins #1 2022
19″ x 23″ – 48cm x 58cm
Copper leaf & watercolour on canvas

Under the Tamarind Tree at Ophi #1 2022
10.75″ x 22.5″ – 25cm x 19cm
Platinum leaf & watercolour on tan paper
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China from China #1 2022
15″ x 25″ – 38cm x 63.5cm
Golf leaf & watercolour on canvas
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China from China #2 2022
15″ x 25″ – 38cm x 63.5cm
Golf leaf & watercolour on canvas
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