Solo Show by Luan Lamberty : Through & Through

29th August - 3rd October 2025

Wilhelmina’s is delighted to present the gallery’s first solo exhibition since 2023 by Luxembourgish artist Luan Lamberty, first winner of the Andrea Neumann Prize with the kind support of Kultur LX – Luxembourg Art Council.

Lamberty’s work explores body language, gesture, and emotion, crafting narratives that feel both intimate and universal. Viewers are invited to lose themselves in his vibrant, colourful compositions depicting enigmatic scenes, which encourage personal interpretation and quiet reflection.

Figures—through posture and gesture—form a shared visual language, offering nuanced insights into emotion and relationship. Vibrant colours, layered textures, transparent washes, gestural marks, and bold outlines converge to create deceptively simple compositions that balance harmony with tension. Beneath the playful, inviting surface lies an undercurrent of unease, revealing vulnerability and emotional complexity.

In stripping himself from the work, Lamberty creates space for the viewer to step in, inhabiting these shared human experiences.

Luan Lamberty: Through & Through builds on the distinctive universe the artist has created since the early stages of his career. The title chosen for this solo exhibition refers on one level to an immersion in the qualities and traits that have become typical of the artist’s visual expression – it is all entirely Lamberty. Recent years and especially this last body of work show Lamberty deepening his enigmatic themes and motifs with subtle shifts in perspective and even greater attention to colour, composition, textures and details. Works as far back as 2019 have been included in the exhibition to illustrate this development for a new public who in all likelihood is unfamiliar with this young artist’s work.

Through & Through also highlights a radical kind of transparency in Lamberty’s work. Drawn with deceptive simplicity there are spectral see-through figures in interiors juxtaposed against one or even two who are boldly coloured and opaque. Sometimes barely there, at others assertively present yet in both cases ambiguous to read. Drawn with charming simplicity, the figures refuse individual identity. They are somewhere between intimacy, hesitation, yearning, dreaming, contemplation, isolation and togetherness, feelings we can intuit but never fully name. Their naïve lines blur the boundary between subject and viewer. Who are they? What are they feeling? What are the dynamics between them and what is their relationship to us? In inviting us to look at and through them, Lamberty is also asking us to look at and within ourselves. Set against windows with views onto open empty skies or distant landscapes these translucent forms become vessels for projection.

The interplay between the interior and exterior adds an extra layer of visual and psychological complexity. Lamberty alternates constantly the relationship of his characters to the exterior. Sometimes we observe them looking out into an expanse of blue sky. In other works, the figures have their backs to the window and are oblivious of the detailed landscapes beyond. Finally, we have works that flip the perspective around entirely so that we are looking from the outside through the window to the figures on the inside. By turns they look back at us, gaze outside unawares while we intrude on their reveries or sit in the window-sill entirely introspective without looking outside at all. At this juncture it is worth highlighting the art historical reference to “the woman in the window” with all of the mystery and fantasy male artists have invited us to share with them.

Works have also been chosen where Lamberty’s figures have been removed entirely to emphasise the importance of the relationship between looking through the inside to the outside as a meditative exercise in which we as viewers replace his figures entirely. Worth noting is how the plants which appear as small motifs next to his characters now gain protagonism. Especially, the unsettling detail in which the shadow cast is at odds with the plant depicted.

Lamberty has a knack for creating paintings that are at first sight simple and delightful compositions of sumptuous and harmonious colours. But the more we look the more we perceive the unsettling details that invite us see through and beyond like an inviting pool of water whose depths can only be fathomed after we have taken the plunge.

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