Into the Light I

Into the Light I – 2018 – 150 x 110 cm – Oil on Canvas

The Table

The Table – 2017 – 160 x 200 cm – Oil on Canvas

Le Médaillon

Le Médaillon (The Medallion) – 2017 – 150 x 110 cm – Oil on Canvas


Windows – 2018 – 160 x 200 cm – Oil on Canvas

The Vanishing

The Vanishing – 2018 – 150 x 110 cm – Oil on Canvas

Under the Volcano

Under the Volcano – 2017 – 150 x 110 cm – Oil on Canvas

White Dots

White Dots – 2018 – 150 x 110 cm – Oil on Canvas

The Bride

The Bride – 2017 – 160 x 200 cm – Oil on Canvas

Le Jardin de R

Le Jardin de R. (The Garden of R.) – 2017 – 150 x 110 cm – Oil on Canvas

The Shore

The Shore – 2017 – 160 x 200 cm – Oil on Canvas


Torn – 2017 – 160 x 200 cm – Oil on Canvas

Into the Light II

Into the Light II – 2018 – 150 x 110 cm – Oil on Canvas

The Swing

The Swing – 2017 – 160 x 200 cm – Oil on Canvas


Portrait of Arny Schmit by Miikka Heinonen


(Luxembourg, 1959)


Arny Schmit is a storyteller, a conjurer, a traveler of time and space.


From the myth of Leda to the images of an exhibitionist blogger, from the house of a serial killer to the dark landscapes of a Caspar David Friedrich, he makes us wander through a universe that tends towards the sublime. Manipulating the mimetic properties of painting while referring to the virtual era in which we live, the Luxembourgish artist likes to surprise by playing on the false pretenses. In his paintings he creates bridges between reality, fantasy and nightmare. The medieval, baroque or romantic references reveal his profound respect for the masters of the past. Extracted from a different time era, decorative motifs populate his compositions like so many childhood memories, from the floral wallpaper to the dusty Oriental carpet, through the models of embroidery.


Through fragmentation, juxtaposition and collage, Arny Schmit multiplies the reading tracks and digs the strata of the image. The beauty of his women contrasts with their loneliness and sadness, the enticing colors are soiled with spurts, the shapes are torn to reveal the underlying, the reverse side of the coin, the unknown.









2018 Wild - Kloser Contemporary Art - Online Show

2016 Journal intime de L. - Wild Project Gallery, Luxembourg

2015 Galerie Art Container - Echternach, Luxembourg

2015 Coco & Neoba Rock - Galerie Toxic, Luxembourg

2015 Brains are where you find them - Galerie Hoste Art Residence, Bruges, Belgium

2012 Juste des figurants - Galerie Alphonse d’Heye/Knokke, Belgium

2011 Vive les privilèges - Galerie KJUB - Luxembourg

2010 Mol dru kraze goen - Galerie Toxic, Luxembourg 2009 Embassy of Luxembourg - Berlin, Germany

Garage Pirsch – Luxembourg, Luxembourg

2007 „Jo, et geht, mä…“ - Galerie Schweitzer, Luxembourg

2006 Galerie Box 38 / Ostende, Belgium

2005 Art Forum /Antwerpen, Belgium

2004 Galerie Schweitzer - Luxembourg

2003 Galeria VILLALBA I BADIA - Barcelona, Spain

2002 Galerie BOX 38 - Ostende, Belgium

Spirit of paintings - Banque UBS Luxembourg - Luxembourg

Spirit of paintings - DZ Bank Luxembourg - Luxembourg

Galerie DECLIC, Luxembourg, Luxembourg

2000 Camoes Institute – Embassy of Portugal, Luxembourg

Galerie GNG – Paris, France

Galerie A. Spiren - Strassen, Luxembourg

1999 Galerie DECLIC – Luxembourg, Luxembourg

1998 Espace PARAGON – Luxembourg, Luxembourg

1993 Theaterstiffchen - Esch-sur-Alzette, Luxembourg





2018 Strange Matter - Jaine Bean Gallery - Berlin, Germany

2018 Art3Cure - Galerie de l'Indépendance - BIL, Luxembourg

2018 Intro 2.0 - Galerie beim Engel - Luxembourg

2018 Porte Ouverte 1535° - Differdange, Luxembourg

2018 Salon du Cercle Artistique de Luxembourg CAL - Luxembourg

2018 Luxembourg Art Week with 21 Artstreet - Luxembourg

2017 End of Year - 6th Floor - Koerich, Luxembourg

2017 Luxembourg Art Week with 21 Artstreet, Luxembourg

2017 An der Uecht - Esch-sur-Alzette, Luxembourg

2017 Art Paris avec Wild Project Gallery - Grand Palais - Paris, France

2016 Luxembourg Art Week avec Wild Project Gallery, Luxembourg

2015 Galerie Art Container Inauguration - Echternach, Luxembourg

2014 Le dernier Tango à la Gare - Galerie Bradké - Luxembourg, Luxembourg

« Invité » à la porte ouverte des artistes de la Schlaïffmillen, Luxembourg

Festival d’art contemporain BAM – La Roche en Ardennes, Belgium

Re-CAL 2 - Galerie KJUB, Luxembourg

2012 Holy Holy Holy - Galerie Toxic, Luxembourg

2011 Konscht am Joer vum Bësch – Bertrange, Luxembourg

2009 The Messenger - Toxic Galerie, Luxembourg

Art Paris - Toxic Galerie, Luxembourg

2008 Eté 08 - Galerie Toxic, Luxembourg

Zeitgalerie, Berlin, Germany

Art in Beaufort, Luxembourg

2006 Art Channel, Beijing, China

Qian Dao Hu, China

2005 Carte blanche à la poésie, la musique et aux artistes - Galerie Schweitzer Luxembourg

2003 « 4 » Galerie Box 38 - Ostende, Belgium

Galerie Konschthaus beim Engel, Luxembourg

2002 Rétrospective 2001, Galerie Déclic Luxembourg

Reckange/Mess - Centre culturel, Luxembourg

2001 Limite sans limites, Chapelle du Rham - Luxembourg. Luxembourg

Limite sans limites, La Casa Elizalde - Barcelona, Spain

Art contemporain de Luxembourg, European Central Bank - Frankfurt, Germany

Galerie Box 38 - Ostende, Belgium

2000 Salon du LAC , Luxembourg

Commune de Strassen (150e anniversaire), Luxembourg

Salon du Pian de Médoc - Bordeaux, France

Galerie Box 38 – Ostende, Belgium

1999 Galerie d’Art Am Tunnel, BCEE, Luxembourg

Hommage aux Artistes Luxembourgeois, Salon du CAL, Luxembourg

Salon Grands et Jeunes d’aujourd’hui – Paris, France

1998 Salon du LAC, Luxembourg

1996 Salon du LAC, Luxembourg

1995 20e Salon Arts et Couleurs – Thionville, France

Salon du CAL, Luxembourg

1994 L’Art en Marche - Sprenkenger Haff, Luxembourg

1993 Biennale des Jeunes - Esch-sur-Alzette, Luxembourg

Salon du CAL, Luxembourg

1992 Château de Bettembourg, Luxembourg

1984 Salon du LAC, Luxembourg






Ministère de la Culture - Luxembourg

Banque et Caisse d’Epargne de l’Etat - Luxembourg

Camoes Institute - Embassy of Portugal - Luxembourg

Commission de Surveillance du Secteur Financier - Luxembourg

Commune de Strassen - Luxembourg

ULB - Bruxelles - Belgium

Banque EFG - Luxembourg

Private Collection of Ms. Catherine Deneuve – France












13 windows with a view on the wilderness. Recent works by Luxembourgish painter Arny Schmit depict his vision of a daunting and nurturing nature and its relationship with the female body. A body that Schmit likes to fragment by imprisoning it into frames of analysis, each frame a clue into a mysterious narrative, a suggestion, an impression. His northern forests become the haunted realms of women from the middle ages to the renaissance who lure blond, black haired and brunette beauties into their bountiful womb. For Nature feeds on Nature, in an endless cycle of Life.


Through his first solo show with Kloser Contemporary Art, Schmit invites the viewer to time travel the wider history of art, freely feeding on Flemish renaissance portraiture (Le Jardin de R.) or the Lynchian landscapes made famous in the 1980s. His red thread is Nature, one he invites us to dissect and love through two Seelenlandschaften (Landscapes of the Soul), Into the Light I & II. Nature empowers the artist to further dissect the female subject made defenseless through his process of fragmentation. The latter undoubtedly placing the stories within the oneiric world of fiction.


For me, Arny Schmit’s signature lies within the dialogue through the frames and across his paintings. By creating multiple narratives inside a single work, the artist creates counterpoint, new meaning and interrogates. What are we seeing? What does a decaying forest clearing tell us about the girl in the red dress? (White Dots) A shot within a shot is a familiar figure in the grammar of cinema, but it is probably Schmit’s mad passion for comic books (he collected over 5’000 from all over the world) that most nourished his artistic language, for his body of work has now mutated from a period where text was used to sublime image into this new phase, where silence and suggestion are now dominant. A silence that seems to give space to imaginary music and sounds.


Wild is in reference to the overwhelming presence of Nature in each of the 13 paintings in this show, but also suggests a wilderness within the human kind. At first motherly and inviting, Nature’s wilderness soon seems to reach an encroaching overprotectiveness that wounds its children, like yet another warning that too much of anything is never a good thing. The series of paintings then becomes a presage of our need to protect Nature and by doing so, to protect ourselves. This is perhaps my very personal reading of the environmental emotion in these works, but we are after all at Nature’s mercy.


I come back to the impressionist qualities of these recent works by Arny Schmit who translates Nature’s emotions (and his own) through elaborate fields of undefined color that give birth to highly texturized organic brush and spatula strokes making up these forests, fields, valleys, rivers and lakes. Like Renoir and other impressionists, Schmit focuses his artistic study on women, capturing them in every angle, always beautiful, always fragile. This is the visible.


Perhaps then, the invisible is the fate of these women that Nature claims, for the stains of blood (The Bride) and drippings of red (The Shore), these fading pants (The Vanishing) and fuming craters (Under the Volcano) all point to the uncontrollable nature of their desire. Human passions render us unaware of the dangers around us, as illustrated by this Ophelia-like character floating in the brownish waters of Torn. Taking this further, I can only witness the constant rape of our Nature and our denial of it, as we slowly drift towards a more dangerous future. What then of our children? A point that finds echoes in Schmit’s last work in the show: The Swing.


Klaus Pas, December 2018