A fundraising exhibition by C S Lawrence, entitled ‘Synergy’, is to be held at the Sinclair Stevenson Gallery in Gharb.

The exhibition is being held to help raise funds for The Friends of the Sick and the Elderly, The OASI Foundation  and Flimkien Ghal Ambjent Ahjar (Together for a Better Environment).

The Exhibition will be open on May the 4th, 10th, 11th, 17th and 18th between 10.00am and 12.30pm in the morning and between 4.30pm and 7.00pm in the afternoon.

The gallery is situated at 59, Trux Street in Gharb. Further information is available by emailing info@tssgallery.com or by visiting www.tssgallery.com.

For Appointments please Telephone 2156 2074.

Caroline Said Lawrence

Being well-travelled is the least one can say about the artist Caroline Said Lawrence and it shows in her art. Her early years living in the Middle East imbued her with an enduring appreciation of the colourfully rich ornamentation of Iranian ceramics and carpets. However, it is from her idyllic childhood in East Africa that she draws her deepest and most emotional inspiration, which is exemplified in her magnificent collection “Faces of Africa”

While fairly new to the Maltese art scene, Caroline Said Lawrence is by no means a newcomer to the world of art. On leaving school, the artist’s mind was set on devoting herself to building her art career and immediate acceptance at St. Martin’s School of Art in

London signalled an auspicious step in the right direction. Her ten-year art career in the Arabian Gulf can only be described as stellar; all her annual exhibitions that featured her delicate, intricate and richly detailed watercolours of eastern interiors were sell-outs.

The artist has developed her exploitation of intriguing surface textures and use of mixed media, all of which enhance the powerful faces she is well known for. The fusion of varied texture, ornate design and vivid colour makes for a captivating visual experience which is amazingly varied in subject matter. Her masterfully controlled line gives way at times to a rugged looseness, and her representational accuracy surrenders to more spontaneous stylization. This is never more evident than in some pieces in her latest collection.

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