Laura Lacambra Shubert
Plum colored juicy red wine in a paper-thin glass goblet, two bare feet pressed gently onto a water-glistened sandy beach, chipped tile on a weathered patio floor, a sun-kissed façade of a French chalet, and the luminescent fire of a candle are just a few from the extensive scale of subjects Laura Lacambra Shubert represents with her very loose yet splendidly elegant brushstrokes.
Light and shadow perform as the key elements in each creation where strategic yet seemingly effortless strokes of bright white acrylic depict an intense sunlight on sculpted outdoor boxwood. Tints & tones of gray offer dramatic shadows underneath a simple stack of plates, and contribute to the movement of a multitude of creases in a chef’s apron. As James R. Nelson, of The Birmingham News states, “these paintings are simple, direct, rich & lush. As visual panaceas, they demand little from the viewer and offer a quiet haven for the stressed.”
“I like art that can communicate to people who don’t have a doctorate in art history. Anyone can feel or get something from my paintings. I’m seeking an intuitive and emotional response from the viewer.”
Shubert was born in Durham, North Carolina, raised in Florida and Spain, and at a young age chose art as a career. Laura received a B.F.A. from Southern Methodist University where she studied painting, drawing and printmaking. Shortly after, she studied painting at the Academie Port Royal in Paris.
Shubert’s work can be found in private and corporate collections in the United States and abroad. Her work is exhibited in several galleries throughout the United States. Laura Lacambra Shubert resides in Winter Park, Florida.
A promising young artist, Laura Lacambra-Shubert, paints in a bravura style filled with tactile energy. Her ability to catch the effects of light and her concentration on pattern relationships is masterful. A willingness to sacrifice detail without loss of descriptive content recalls the brush work of Edouard Manet and the defining textural realism of Wayne Thiebaud.
This exhibition is dominated by studies of figures, usually waiters or chefs. She eliminates individuality by painting torsos beginning at the neck and ending above the knees. This enables her to integrate the figure into her work as part of a pattern of colors, textures and shapes. The assertive boldness of her compositions is both sophisticated and matter of fact. A woman tying her apron, waiters carrying wine and glasses and still lifes of wine bottles are treated with functional anonymity that the viewer recognizes as true and accurate.
Lacambra-Shubert’s street views show building facades dappled with the pale light of morning or the strong contrasting light of late afternoon. Something as simple as two bottles of wine lying on a white cloth achieve the impact of two cannons lying in snow. Her fascination with the art of gracious living focuses on the idea of food and wine.
These are paintings that convey a sense of well-being, of the good life and of deep and quiet pleasures. It is good to see works by a painter who loves and respects what paint can do in describing what is worth studying for pure pleasure.
Arts Columnist James R. Nelson