Fairy Flowers – Solo Exhibition Beirut


Opera Gallery is proud to invite you to:

Open for public 3 June 2016

It is a rare pleasure to witness and write about the progression of an artists’s work over a concentrated period of time. In the case of Lita Cabellut, this past year has seen the realisation of three distinctive yet interrelated series. Exploring, among other things, the infrastructure and complexity of beauty as manifested in the female form, Cabellut’s work has transitioned as subtly as that of a young girl maturing into womanhood – consistent, philosophically intricate, and ultimately surprising – perhaps even slightly unnerving. In ‘Fairy Flowers’ we find Cabellut intermixing more turbulent sculptural works together with classical portraiture, in a way that suggests an abstraction of apparently conspicuous figurative concepts. Working in tandem with the works on the wall, Cabellut’s ownership of space elaborates on the expansiveness of beauty in a given sphere: how it is born out of, interacts with, and thrives on its given surroundings. My own reflection on Cabellut’s work takes the liberty of addressing it in stages, with each new body of work functioning separately and concurrently with the one preceding it. In ‘Fairy Flowers’, I see a continuation of her series entitled ‘Impulse’, which united elements of sublimity, pleasure and pain to examine our inherent attraction to imperfection. Bringing to question the dichotomy between beauty and the sublime; pleasure and violence, ‘Impulse’ entangled the viewer in a distorted revival of classical theories while reclaiming possession of female beauty – an accolade typically granted by society and its patriarchal constructs. In ‘Colour of Dew’, Cabellut combined the tantalising beauty of femininity with the intuitive effects of colour. Confronting our immediate emotional response to contrasting components, her figures appeared blanketed in brilliant hues of pink and turquoise. Yet shrouded with an expression of sadness and a weighted posture, the women seem heavy with the burden of their beauty. A shift occurs in ‘Fairy Flowers’. The women have grown wiser; their thorns pricklier, their presence more formidable and self-assured. They emerge vividly from contrasting backgrounds, no longer shy but declaratively present, their portraits embellished by the frozen movement of three-dimensional forms. Beautiful still, but also durable and independent, suspended in a moment of blossoming and growth

Fairy Flowers
by Gili Karev – Art Critic