27.08.2009
BALLUTA is cold and blue, expressionist and bold. The neo gothic Nazarene church takes centre stage and braces itself against a raging storm. Brushstrokes hint at the strong wind, whilst the mixture of matt and semi gloss paint emphasises precipitation. Two solitary lit street lamps offer a poor means of comfort in this beautifully chaotic landscape.
MASK (the insane gaze of suffer) - a dedication to all those who suffer from lengthy physical and mental illnesses. It portrays a decaying innerself disguised by an apparent calm. MASK hints at all the negative matter that distorts mankind and ultimately suck it back into the earth's bowels under the form of waxen corpses. This work is a sad epitaph of life celebrated in 2009.
GRAND HARBOUR is chaotic, cramped and draped in passionate red. Stylised domes, spires, bastions and buildings mingle until they finally morph to form a scene devoid of chromatic perspective. The end result is the characteristic 'huddled together' feeling that only the South of Malta can magnificently offer.
SAGRADA FAMILIA is my interpretation of the Nativity facade from Gaudi's masterpiece in Barcelona. Depicted here are the four top parts of the eighteen towers that form this unique cathedral.
The architectural style of the Sagrada Familia has been labelled "warped Gothic" due to the rippling contours of the stone façade that give the illusion of a melting sandcastle. I became obsessed by this definition and immediately after visiting the cathedral some years back, I felt an urge to transmit this feeling into something visual.
17.06.2009
I shall be participating in this year's edition of Unita' with my latest paintings HILLPATH, HILLPATH 2 and PIAZZA DI SPAGNA.
Unita' is a collective art exhibition that donates a percentage on sold works for charity. It shall be open for public viewing at the Centru Sant'Anna u San Gwakkin in Marsascala between June 19 and July 29.
Opening times are as follows: daily 7.30pm to 10.30pm, Sundays and feasts 9.00am to 1.00pm, 7.30pm to 10.30pm.
15.06.2009
HILLPATH 2 differs to its predecessor mainly due to its aggressive lines, contrasting colours and a heavy stormy sky. This wintry scene includes bold brushstrokes and black angular lines. Stylised, windswept trees are planted along the winding path that divides the painting into two verticals. Ochres mingle with blues and greens; overexposed whites rub shoulders with dark shadows. Ultimately, this moody work can be summarised as a crude celebration of contrasting elements.
PIAZZA DI SPAGNA is a monochrome that celebrates one of the most famous piazzas in Rome. This night scene depicts an elongated moonlight-bathed church made from intricate hatching and cross hatching, finished with touches of sepia and burnt sienna. The terraces appear to be meeting points - boisterous and full of life. Two mysterious figures at the bottom, add a sense of drama to this work.
13.01.2009
I feel that HILL PATH is chromatically different to the palette of dark colours with which I normally work. For the first time, I used white as a blending aid; which, in my opinion gives the landscape a 'fresh' and 'airy' feel. As usual, the signature bold brushstrokes and black angular lines are quickly identifiable in this painting. Perspective has been manipulated and distorted for compositional purposes. Bushes and trees are relatively accentuated whilst far away hills are simply hinted at. The cloudy sky is vital in adding a turbulent but energetic feel to this work.
31.12.2008
Indeed it has been a quite while since my last update. Hereunder, I am uploading some works that have been executed during the last months of 2008. May I take this opportunity to wish you all a healthy 2009.
Dark and sombre CARPET POSE (the prostitute) has been long gathering dust on my studio floor until, this morning I decided to add the final touches. The subject is an elongated and anorexic female lying in a rather uncomfortable and submissive pose. The naked figure is bathed in strong, selective lighting that exposes sinewy limbs, a sick complexion and a blank face. The only points of reference in the room are a chair and carpet, both suggestively hidden by partial shadows.
Stylistically this work evokes post WW2 theatrical interior design.
RAIN is a strong and aggressive painting. The dome and spires occupy centre stage, whilst the surrounding 'wet' buildings are just hinted at. However, the real protagonist is a brooding sky that heavily occupies the top segment.
THE OLD BRIDGE is heavily laden with stark angles and suggestive contrasts. Thick, sweeping brushstrokes and powerful lines furiously dictate the austere mood. In reality, the depicted bridge links the Upper Barrakka Gardens to another part of the city's fortificated walls. The subject is locally known as 'the bridge of suicides' due to its role of freeing unfortunate souls of their material troubles.
ISLA POINT 4 is carefree, fresh and energetic. Repetitive lines and curves invite the viewer to follow the stylised perspective that leads towards the Valletta Waterfront. The simplified design is quite straightforward and tends to eliminate unnecessary details, whilst allowing the background colour to play a vital role in the composition.
13.10.2008
Expressionist VENETIAN PALAZZO is an attempt at capturing the essence of Venetian architecture through hurried brushstrokes and a stylised vertically inspired design. The pale hues of the sky and reflection depict a sunrise; which contrasts starkly with the bold greens and reds that characterize the building.
07.07.2008
RIALTO TRAFFIC narrates the constant hustle and bustle that is so characteristic of this famous bridge. Sinewy bodies glide busily up and down the stairs, dodge each other, briefly pause to talk or simply take in the canal's view whilst catching breath.
The technique used is quite fresh, sketchy and spontaneous, executed with hurried lines and selective, pale wet in wet colouring.
18.06.2008
In VENETIAN CANAL I tried to capture the essence of Venice. The perspective narrates its typical architecture including little green balconies and shutters, spires, chimneys, bridges and of course; murky water. This work could be considered as a detailed memoir of my visit to the mentioned city.
Once again, I shall be participating in this year's edition of Unita' with my paintings VENETIAN CANAL, PHANTOMS AT SEA, ALL SMILES and CRUCIFIED CHRIST 2.
Unita' is a collective art exhibition that donates a percentage on sold works for charity. It shall be open for public viewing at the Centru Sant'Anna u San Gwakkin in Marsascala between June 20 and July 29.
Opening times are as follows: daily 7.30pm to 10.30pm, Sundays and feasts 9.00am to 1.00pm, 7.30pm to 10.30pm.
11.06.2008
A new site feature was recently added to enhance browsing comfort. Clicking any thumbnail in the galleries section opens a full size image in a (separate) pop-up window which can be dragged and repositioned on the screen. This feature supports the opening of multiple images on a single page. The link "click for details" provided below each thumbnail, accesses the chosen painting's data including critique and dimensions.
21.05.2008
Menacing grey clouds are heavily gathering over Valletta in MALTEMP. Old buildings and deserted streets brace themselves for the inevitable incoming storm and heavy precipitation.
The thick atmosphere contrasts harshly with an eerie light that makes the church's dome glow unnaturally. Deep shadows prevail, adding a bluish tint to the damp stones that have withstood centuries of weathering.
Simple, stylised houses mingle with detailed stonework; overworked parts rub shoulders with blank spaces... Ultimately, Maltemp is an attempt to depict savageness of the uncontainable - nature.
25.03.2008
The view from my studio has always instilled within me a unique urge to paint. Perhaps, this could be easily attributed to the step-like structure of the fields as well as the vivid chromatic changes that each season brings to them.
THE LONE CAROB TREE is my latest work rendered in rich greens, yellows and blues. (Anyone familiar with my art can immediately note that this is not exactly my favourite choice of palette!) Composition is dictated by a single tree placed in the middle of the painting whilst the surrounding vegetation and rubble walls are simply hinted at; without being obtrusive.
Overall, I'd like to think that this work transmits a peaceful and nostalgic mood to its viewer; qualities that only a Mediterranean landscape is capable of giving...
03.03.2008
GOZITAN HILLS 2 is an interpretation of sun burnt landscape set against an oversaturated fiery red sky. The sea has been transformed into a placid lake of lava which ultimately contrasts heavily against the selectively obscured foreground. This work is less stylised than its predecessor but still manages to retain the same brooding mood.
I am currently participating in the Core Green Art Exhibition with DEFORESTATION. This exhibition, featuring 50 local artists, is held at Melita Gardens in Balzan and will remain open for the general public until the 14th March 2008.
31.01.2008
ALL SMILES goes down as my first ever double portrait.
As with all my previous aquarelle faces, the process is quite tedious and agonisingly slow. Each minute detail, each tone and especially the subject's gaze have to be faithfully reproduced on paper. However, any artist may confirm that the hardest thing is managing to 'breath life' and energy into the drawn face.
In this case, the strange feeling is that on completion of the first portrait the challenge starts all over again. Indeed, I learnt that this can be quite risky because one mistake may result in the loss of both subjects!
Nevertheless, I am very pleased with the outcome... especially the way that reflected light falls on the girl's cheek!
23.12.2007
UNDER THE MOONLIGHT was commissioned by someone who wanted an interpretation of his hometown. Inclusion of the St Publius parish church and adjacent granaries were chosen for their importance as being essential visual landmarks.
This Expressionist work is mostly bathed with a bright and eerie lighting; which in turn, contrasts heavily against an obscure sky. Overworked areas rub shoulders with 'unfinished' parts; blues and ochres meet, whilst the strategically placed cyan, green and red daubs of paint allow the eye to wander both vertically and across the canvas.
Two ghostly figures engaged in deep conversation merely act as a link between foreground and background, adding depth to this 'desolate' landscape. The lone bench with its bold cast shadow emanates a sense of solitude, thus inviting the viewer to regard this painting as an interpretation of mood rather than a straightforward portrayal of architectural features.
17.12.2007
GONDOLA's spontaneous and coarse brushwork is quite reminiscent of German Expressionist painting.
Having visited Venice, I preferred to reproduce an experience; thus sacrificing form and sticking to the bare essentials... sunlight, reflections, idyllic movement and rhythm.
I take this opportunity to thank you all for your support throughout 2007 and convey my warmest wishes for the festive season.
09.11.2007
CRUCIFIED CHRIST 2 and HAGAR QIM 2 will be auctioned at a fundraising dinner which will be held on November 10th at the Mediterranean Conference Centre in Valletta. All proceeds shall be donated to the Cystic Fibrosis Foundation.
Anyone interested in either donating money for a good cause or simply would like to acquire one of the mentioned paintings, is kindly invited to browse www.justgiving.com/runningforfranny and contact Josette Falzon.
22.09.2007
GRAPHICAL is my entry to this year’s Notte Bianca art exhibition. I was invited to produce a painting for the Sekwenza portrait section which will be hosted at the Mediterranean Conference Centre in Valletta next month.
I must admit that I was quite skeptic on painting a person I have never met. My preoccupation was to fill the canvas with a dynamic but balanced composition and initially opted for a traditional way of faithfully reproducing the flesh tones through saturated gradients. However, overcome by enthusiasm; my arm took over and started dictating the brushstrokes until I ended with something completely different to what I had originally planned. At this point, I decided to abandon the incomplete painting and work on other canvases.
A full month later, the much meditated bold black lines were added with the intent of stressing the bone structure of the face. I wanted my work to look theatrical, bridging between pop and classical, whilst incorporating obvious influences from comic art.
I am happy with the outcome but have no idea if I succeeded in capturing the likeness and character of this 'phantom sitter'!
14.09.2007
CITTADELLA 2 was painted from Xaghra...in broad daylight! It is basically a night scene dominated by a plane of stone blocks and masses set against a velvety sky curtain.
Contorted multiple facets are selectively bathed in strong light and austere shadows, whilst a total absence of midtones adds drama to this simple landscape. The citadel is stripped down to its bare elements; thus allowing the viewer's gaze to linger on the fortifications, which are horizontally spread over three tiers. Consequently, the church and textured sky are the only features that invite the eye to wander vertically.
01.09.2007
I don't think that scenes like VENETIAN BRIDGE are commonly interpreted by artists who paint Venice. During my recent trip to this enchanting city, I surprisingly found myself sketching the chaos and confusion of the back canals, rather than the breathtaking architecture of St Mark's Basilica or the Rialto Bridge.
Indeed, the hundreds of unique bridges brimming with life, movement and people caught my attention. This is the story behind my latest upload, rendered predominantly in sepias, flowing black lines and touches of gold.
Though heavily stylised, the 'Venice feel' is still there, thanks to the cluttered effect and sanguine hues which were popularly used to decorate most of the now faded and flaking facades.
14.08.2007
AFRICA 2 is less stylised than its predecessor. Deep earth colours executed in hurried but calculated expressionist brushstrokes form the subject’s thoughtful face.
Greens and reds contrast harshly, almost savagely, at times separated by some of the heavy black lines that feature prominently in this work. Dark shadows effectively pronounce the accentuated cheekbones, chin and forehead.
The outcome almost emanates a strong patriotic feeling, a sense of pride and courage...
17.07.2007
The Meander video clip featuring my latest exhibition - Moods, has been uploaded in the Critique Section.
06.07.2007
Last month I accepted Joseph Casha's invitation to interpret Arnold Bocklin’s famous painting - The Isle of the Dead. Mr Casha, a prolific Maltese artist, instructed me and the other 29 participating painters to depict Filfla as the featured island. In the coming months our interpretations shall be collectively exhibited under the title 'Filfla and Toteninsel'.
Bocklin, a Swiss-German, has produced several different versions of this painting. All depict an oarsman and a standing white-clad figure in a small boat crossing an expanse of dark water towards a rocky island. In the boat is an object usually taken to be a coffin whilst the white-clad figure could easily be interpreted as Charon navigating on the Acheron. Bocklin himself provided neither public explanation as to the meaning of the painting nor the title, which was conferred upon it by the art dealer Fritz Gurlitt in 1883. Adolf Hitler, who possessed the Berlin version, was particularly obsessed by this painting. Freud, Lenin and Clemenceau all had a print hanging in their office.
My interpretation, entitled PHANTOMS AT SEA, commands a vertical composition. The island of Filfla, bathed in strong moonlight, accommodates several cypress trees and a Gothic church inspired by the one that guards the local Addolorata Cemetery. Instead of a straightforward reflection, phantom figures float and flitter on the water surface, reaching out to greet the solitary corpse standing upright on a typical Maltese fishing boat. Towards the stern, a ghostly Charon guides the way, whilst caringly whispering instructions to the shrouded figure. A heavily textured sky and sea set thickly around the night’s protagonists of this eerie setting.
22.06.2007
BALCONY is a spontaneous and elaborate sketch worked primarily in ink and watercolour washes.
The architectural manner of this particular stone balcony is quite typically found in the old cities of Mdina, Senglea, Cospicua and Vittoriosa.
18.06.2007
I shall be participating in this year's edition of Unita' with my painting COUNTRY ROAD.
Unita' is a collective art exhibition that donates a percentage on sold works for a philanthropic cause. It shall be open for public viewing at the Centru Sant'Anna u San Gwakkin in Marsascala between June 23 and July 1.
Opening times are as follows: daily 7.30pm to 10.00pm, Sundays and feasts 9.00am to 12.30pm, 7.30pm to 10.00pm.
09.06.2007
REFLECTIONS AT MYKONOS was commissioned by someone with the intent to immortalise the unique panorama of the 'Little Venice' area.
The horizontal composition allows the eye to wander across the painting and includes slight distortions, especially evident in the immediate foreground on the right hand side. Choosing a late twilight scenario, I primarily focused on the reflections, emphasizing the vertical play of lights that twinkle in this bay.
The ochres that highlight the buildings offer a sharp contrast to the flat, dark indigo sky. Two solitary figures seated next to the large white tent enjoy a friendly chat in this magical setting.
11.05.2007
My heartfelt gratitude to Ms Pisani Bencini who, notwithstanding her busy schedule, found time to visit me this morning and discuss my latest works. This was done in conjunction with a feature about the Moods exhibition which will be aired imminently during 'Meander'.
The latter is an excellent culture-based television programme that has not only become popular among art lovers; but enjoys a wide spectrum of viewers representative of diverse age groups and social backgrounds.
08.05.2007
Through her article The Moods of a Painter, Marika Azzopardi expresses her views about my current exhibition at Heritage Malta. This write up has just been added to the Critique Section.
06.05.2007
I'm finally back to painting after a much needed rest. During the past seven months I worked really hard, producing 42 new paintings (currently exhibited) apart from designing the accompanying catalogue, posters and invites. Last but not least, with the able help of my webmaster I totally revamped this website, substituting the original version that was launched in October 2005.
GONDOLAS IN VENICE will definitely spearhead a series of Venetian landscapes on which I shall work during and after my visit to this magical city later on this year.
Two parked gondolas occupy the foreground whilst a typical palazzo serves as the main backdrop. Instead of correctly reproducing every single intricate architectural feature, I was more interested in conveying a sense of idyllic tranquility that only Venice emanates.
15.04.2007
Post Inauguration
My heartfelt gratitude to all of you who attended yesterday's Inauguration night. I was really overwhelmed and flattered to see such a large crowd filling the exhibition hall!
Thank you for finding time to talk to me and discuss my art, for your encouraging words and praises. Thank you for appreciating MOODS!
Thank you all for being part of this adventure, which is so dear to me...
I shall be visiting the exhibition hall every Sunday between 10am and 12pm.
06.04.2007
One week to go! The exhibition catalogues have been printed and invites sent. Some posters (featuring David 2) can be seen at shops whose owners were kind enough to affix them.
From these columns, I would like to express my gratitude to my wife, who supportingly bears up with my 'pre-exhibition tantrums', Mr EV Borg for expertly guiding me through this adventure, Robert Spiteri (my webmaster) for his generous disposition, my family and friends.
I would also like to thank my sponsors: Valletta Fund Management Ltd, Bank of Valletta plc, Halmann Vella, Middlesea Valletta Life, Delicata wines, Emirates, Vassallo & Xuereb and Sons Ltd, Merlin Library, Victor Azzopardi, Raymond Gialanze from Fotomond and last, but not least Mr George Gatt from Ritemix.
Thank you all for periodically browsing through my site, for sending encouraging feedback and being part of this important journey.
29.03.2007
The Critique section now includes the critical essay to my upcoming exhibition. This article, written by EV Borg, will be featured in the 24 page, full colour exhibition catalogue.
24.03.2007
The design of TEMPTATION 2 owes a lot to its predecessor, TEMPTATION. However, it looks wilder and its primitive touches may suggest an indirect influence by African Art.
The swirling effect of the stylised serpent is enhanced further by daubs of colour that float around it, thus filling the area of the circle that actually contains this painting.
Stylistically, it is a companion piece to BINOVULAR TWINS.
13.03.2007
AWAKENING gives a sense of invaded intimacy. The viewer catches the subject unawares, seated at the end of her bed, reaching out to untie a rather dishevelled pony tail.
The partially stylised human figure is not idealised, but carries little 'defects' which are especially evident in fat deposits around the lower abdomen and thighs. These areas contrast sharply with a relatively slimmer upper torso, complete with pronounced breast bones and thin neck.
The bed; partly bathed in bright morning light, also offers a stark dissimilarity to the warm ochres that compose the figure.
I have set up a new selection of paintings at Palazzo Santa Rosa in Mistra. These are CONSTRUCTION WORKERS, SURREAL GARDEN, NOCTURNAL, FAMILY, FIELDS, FIELDS (winter), DEFORESTATION (listen to our screams) and AFRICA. Once again, I would like to thank chef patron Claude Camilleri for prolonging my stay as in house artist at his reputable restaurant.
23.02.2007
SPRING (planted trees 2) is an attempt at fauvism. I consider it as audacious, cheerful and spontaneous; directly influenced by PLANTED TREES.
The chromatically rich chameleon sky emanates a sense of harmony and vastness whilst stylised cast shadows steal the limelight. Multicoloured trees become one with both the foreground and background. In this way, forms and colour mingle with each other, ultimately turning into mere patterns on a flat plane.
17.02.2007
I would like to thank the group of art enthusiasts led by EV Borg who visited my studio this morning. They had the opportunity to preview most of my latest works before the MOODS exhibition, which is scheduled for next April. It is certainly very encouraging to learn that there is a growing interest in local art.
08.02.2007
MOTHER AND CHILD boasts 2 heavily stylised figures against a fragmented background. The nude mother figure is seated in an armchair, watching lovingly over her offspring, cradled in her arms. She amiably touches the child playfully with her right hand. Her neck is elegantly craned forming a slight curve.
The background is made out of repeated patterns that extrude from the figure, especially visible around the head and armchair's back. Cast shadows complete the painting.
INCOMING STORM is an aerial view of the Capital from Hastings Gardens. The white highlights on the dome, spire and water tanks in the immediate foreground, contrast starkly against a composition of dark reds and greens.
As North West Valletta braces itself for a raging storm, the buildings appear wet and reflect the unearthly light that only such bad weather produces. Heavy precipitation is hinted at in the brushstrokes. In contrast to pale ochres used for the highlights, shadows are reminiscent of various greens that make up the sky. Streets are bare and houses lit up, offering protection, refuge and warmth.
Dramatic and apocalyptical are two adjectives that best sum up this painting.
TAL-KARMNU is a small but intricate study of the Carmelites' church in Valletta, which I had worked as a study for INCOMING STORM. Major differences between the two works include the positioning of the steeple closer to the dome and a more liberal use of colour in the buildings.
I experimented a lot in PLANTED TREES; both composition wise as well as in the choice of colours. I feel that this time the genre is Expressionist with a slight Fauve influence, especially evident in the brushstrokes and manipulation of pinks, mauves and reds.
THE MODEL is strong and defiant, proud and cheeky. This predominantly dark painting presents a curvy female posing comfortably on a modern leather sofa. Special attention was given to the anatomical features which appear selectively lit, stylised and fragmented.
The red lines that divide various segments should not be underestimated. They enable the colours present in each interlocking section to 'breathe', whilst forming a continuous line along the top part of the body.
This painting is not a representation of beauty; but should be regarded as one that captures mood.
SLEEPING NUDE features a stylised female sprawled horizontally across a sofa with her face turned away from the viewer. Her left arm is curved to form an unnatural arc, whilst the right buttock is stretched in the opposite direction. The accentuated shoulder blade, breast area and rib cage studies add detail to the block torso.
The choice of colours does not form part of my usual palette, especially the cyans and yellows. Various lines and curves that form the sofa echo the figure's outline. This is quite evident in the back, arm and buttock areas.
01.02.2007
Welcome to my newly revamped site! Thanks to the 'fixed' top buttons and side thumbnails, you can now browse through the whole site uninterruptedly. Each section is really just a mouse click away!
The designing and programming processes have been going on for months until; by trial and error, my Webmaster and I have achieved what you are actually viewing today. (Thanks for the sterling work, Rob!!!)
Happy browsing...
29.01.2007
TAHT IT-TORRI gets its title after the view from the Red Tower whereabouts in Mellieha. It is an expressionist landscape created with greens, yellow ochre and reds. The use of complimentary colours, strategically placed next to their primaries, almost make the painting 'vibrate'. I was not interested in portraying a realistic perspective but my real focus was to convey the mood of the place, presenting the viewer with peaceful stillness that had originally caught my attention.
ANTOINE 2 is my second tribute portrait to Antoine Camilleri. Perhaps it is deeper and more touching than the previous. From the research conducted, I learnt how Antoine loved portraying himself as an icon, as the Holy Shroud's image and was deeply obsessed with eternal life after death.
The face, almost a death mask, is a mixture of the artist's own elongated and frail style amalgamated with a slight cubist rendition. The palette is dark and somber whilst the purple used in the background illustrates the artist's favourite colour. In his own words, "I love purple because it symbolizes waiting... waiting for the Resurrection." Through his art, Antoine Camilleri definitely lives on...
The statue featured in CORNER SAINT actually adorns a Valletta crossroad, corner with St Lucia Street. I tried to exploit the acute perspective to add a dynamic touch to a painting which was left predominantly white. In my opinion, these white touches proved to be a winning recipe, allowing the drawing to 'breathe', whilst contrasting starkly with the overworked stonework of the wall.
21.01.2007
DAVID is a life-size torso in monochrome after Michelangelo's majestic sculpture; an epitome of strength, youth and beauty of the male body. Vigorous, taut, rippling muscles mingle with the black shadows that form the flat background in a manner characteristic of the famous chiaroscuro style.
DAVID 2 is a portrait after Michelangelo's imposing sculpture. Mine is greatly influenced by Pop Art and partly realised in hard edge technique. The subject is depicted as a contemporary hero, almost a Superman fresh from DC's pages.
Strength lies in the broody look as well as in the flowing red line that outlines the face. This painting was left partially incomplete. In my opinion, this mixture of finished and unfinished areas help in balancing the composition, making it easier for the eye to wander. The same pattern of thought applies to the manipulation of energetic red lines and solid black shapes. Nothing is left to chance; from the positioning of the face to the thickness and colour of the above mentioned outlines...
14.01.2007
My last upload from 2006; NOCTURNAL 2 is a stark representation of a village church at night, predominantly executed in blacks and reds. Initially, the cardboard was carefully primed with a mixture of course sand particles and paint, closely mimicking the texture of rough sandpaper. With the help of hurried brushstrokes, the characteristics of a typical Maltese church unfolded at a steady pace. Swift red highlights with a diverse medium complete the painting.
02.01.2007
The following paintings were all created during December 2006.
FROM THE STUDIO 2 is one of my favourite works. Whilst looking out through my studio's window, I decided to alter the rich chromatic hues of the azure sky and the deep green grass.
In this painting, an oppressive and fiery sunset beats mercilessly over arid stepped fields. I tried to work as fast as I could, using relatively large quantities of paint on an already textured surface. The highlight is certainly the ochre enriched centre, where rays of direct sunlight selectively illuminate parts of the fields. In the immediate foreground, two solitary cypress trees look on...
Dramatic GOZITAN HILLS is a mixture of warm reds and ochres, enriched by strong green highlights. This 'apocalyptic' scenery is Impressionist in style, painted with bright colours and contrasting tonalities. Details and shadows are minimalised in order to obtain a flat middleground, which reflects the same palette used in the sky.
LIGHT BEYOND THE CHURCH was created with fast and spontaneous brushstrokes on top of a patterned background. Composition is simple and centred; graceful lines are sacrificed. Importance is instead given to the impression of a setting sun which casts light between the church dome and spire. These were treated as hollow plastic objects which turn red at their thinnest parts when torchlight is shining right behind (or better still - through) them.
ORANGE SUNSET gives the impression of both peace and tranquillity. The red sun is depicted as a ball on fire. Together with its longitudinal reflection, it becomes the real protagonist of the painting. Thus, the dome and adjacent buildings are simply left to compliment the scene, creating an idyllic setting.
WRAPPED IN ORANGE is simple and stylised. The dome and spires are literally framed by wide, sweeping red orange brushstrokes which represent houses. A balcony is hinted at, on the right hand side of the painting.
26.12.2006
CARRIBBEAN BLUE is a minimalist seascape, which can almost be mistaken for an abstract. It actually depicts a horizon with fluffy clouds in the background and a foreground loaded with waves crashing against the sandy coastline. This watercolour was worked using the 'wet in wet' technique, allowing the pigment to flow freely across the surface.
DOME AND SPIRES is a liberal study of a typical Maltese Parish church executed in two of my favourite colours, red and black. Sharp white lines 'slice' through the underlying pigment, adding selective highlights to the baroque architecture of the church and the cluster of buildings obsessively topped with old TV aerials.
The dark and heavy dark green sky in MDINA CATHEDRAL contrasts harshly against the kaleidoscope of colours present in the church and buildings. The dome and spires are a faithful replica of the original, whilst the 'flat' block houses are stylized, along with their balconies, typical windows and louvers.
ETHNIC is a portrait with a cubist twist, sporting a contorted and rather melancholic look. This narrow face is adorned with tribal earrings and markings.
PENSIVE is study in facial expressions, stylized and predominantly purple. The eyes and features may recall those used in tribal artifacts, especially in African Art. The flowing white lines add strength to the bone structure and 'encapsulate' the face, giving balance to this rather dark painting.
Geometric and graphic, TEMPTATION symbolises the epic in the Garden of Eden. The fragmented serpent, which is the only visible subject, entwines elegantly along the circle's area, whilst the lone green patch represents the apple - hence Original Sin.
I take this opportunity to wish everyone a healthy and sparkling 2007!
16.12.2006
In the following two new works I feel that I have been heavily influenced stylistically by the illustrious Maltese artist Gabriel Caruana. As I had stated earlier from these very columns, I am a great admirer of his highly expressive art.
POLITICALLY DIVIDED hints at the local political scene, amply dominated by the Red and Blue parties which are constantly at loggerheads with each other. Obviously, as in the case of a small island like Malta; this divide sometimes becomes larger than life, almost turning into a fanatical farce. Blues breed Blues and Reds breed Reds... in pure vicious circle style!
Nevertheless; my figures are idealised and modelled from one flowing black line ... signifying brotherhood!
STANDING TALL AND PRETTY depicts a society living indifferently of other people's needs. It actually symbolises present day life in which the greedy side of humanity categorically refuses help to its needy counterparts.
The simple and austere figures are enhanced with decorative patterns which may easily recall primitive artistic expressions.
05.12.2006
CHILD is a portrait of an Asian girl executed in monochrome. The subject's melancholic, bitter-sweet eyes look outwards straight into the viewer's eyes. Her strong and decisive gaze may at times become both uncomfortable and unbearable to behold...
As the title suggests, SURREAL GARDEN is dreamlike and obscure, where fantastic, weird lights feature predominantly in an almost menacing manner.
In reality, my muse has been an aquarium. The solitary rock, hair-grass and various leaves in the foreground have been painted in a fairly conservative manner. It is the dramatic background that springs to life, hinting at a cataclysmic event in the making.
KEYSTONE FEATURE was taken from a surviving keystone sculpture at the Old Opera site in Valletta . I tried to breathe life into this particular stone carving by adding dynamic gold lines and hinting at 'coloured' pupils in the eyes.
The whole drawing is covered with energetic hatchings and cross hatchings, enhanced by selective lighting.
WATERFRONT 2 commands a stylised perspective, which could possibly recall an architect's 'artistic impression' study. Lines and brushstrokes are fluid and fresh.
The atmosphere is merry as people start strolling or simply sit down to enjoy a hot cup of coffee on a jetty that has just been drenched by a passing rain cloud.
Entitled THE RED CORRIDOR, this painting is an excuse for interpreting a female nude figure. The composition is theatrical and stage-like, mainly due to the imposing reds and the eerie setup of curtains that fill either side of the middle ground. On the other hand, the figure is sensual and unclothed, but for a pair of red socks. One could almost experience a 'peeping Tom' sensation whilst standing in front of this painting.
10.11.2006
Fascinated by Greek Mythology, I felt spurred to interpret the FALL OF ICARUS, a mixed media executed mostly in watercolour. The palette is reminiscent of heat and sunshine, the two key factors that actually led to the subject's death. I left Icarus himself white in order to express pathos - shock and fear.
His body is elongated especially the torso, one of the thighs and the hands.
FALL OF ICARUS 2 goes a step further, reaching towards minimalism. The body is stylised whilst the hands are grotesquely out of proportion. The wings which have ceased to exist, are hinted at by a simple outline structure encompassing the arms. A fiery red sky encloses oppressively around the subject who is falling backwards, plunging to his tragic death.
In order to escape from King Minos, the prodigious inventor Daedalus built wings for himself and his son Icarus, fashioned from feathers and held together by wax. He warned his son not to fly too close to the sun, as it would melt his wings, and not too close to the sea, as it would dampen them, making it hard to fly. The disobedient Icarus fell to his death after the wax melted. The sea in which he drowned was then named the Icarian Sea.
16.10.2006
NATURA MORTA (still life with skull) is an object drawing that I've been longing to paint for quite some time. The heavily textured panel was meticulously primed to give a 3D wood grain effect. (Painting on top of this proved to be quite a feat!)
A sheep's skull, a piece of cloth, an old book, a candleholder and candle are assembled on a table. The image is savagely fragmented and distorted, rendered in a cubist manner and enriched with warm oranges, reds and ochres. It is in this manner, that the somewhat macabre collection of subjects is 'softened' and seems to glow, thus conveying a serene feeling.
The only movement is generated by the flickering candle that illuminates and radiates warmth, whilst casting haphazard shadows on the wall immediately behind the table.
Obsessed with the various possibilities of fragmenting the same object, I produced SKULL 2, an elaborate study in cubist forms. It is the same sheep cranium that I had previously used in SKULL, a chalk and charcoal drawing sketched from the same angle.
In this regard, I suggest that the viewer should alternate between 'consulting' both works in order to fully appreciate the latter effort.
My MONA LISA is not supposed to be pretentious of Leonardo Da Vinci's fine masterpiece. I just tried to produce a valid alternative to the world's most famous work of art, and render it in my favourite style.
The most difficult part was to recreate the infamous smiling, sad eyes and lips that have for long been an unsolved enigma. In fact, everything was an enormous challenge, ranging from the model's stance to the background and the unique chromatic attributes originally used by Leonardo.
My painting is not an exercise in copying; but should be solely regarded as a courageous cubist interpretation of a perhaps unreachable subject. In this way, my biggest satisfaction is when viewers blurt out the words "Mona Lisa" before actually reading the title!
04.10.2006
THE CELLO PLAYER is an extremely fragmented rendition of a musician and his instrument, camouflaged against a background of browns, reds and ochres. Experimenting with textures, the canvas was carefully primed in order to mimic fur.
I intentionally worked the protagonists in a vague mirror image style so that they are seen as one. The music, transformed into shapes, flows out in abundance and fills the canvas in the same way that it may acoustically fill an auditorium.
ORCHESTRA is an exercise in minimalism, executed with fast and spontaneous strokes. It may recall one of the numerous band marches that throng the local streets during our festas. Easily recognizable are the cello player, the trumpeter and the percussionist on the 'katuba'. The distinct red lines suggest movement generated from pure kinetic energy exerted by the musicians.
CARNIVAL REVELLERS radiates rowdiness and joy. It symbolises 3 youngsters clad in brightly coloured costumes and masks prancing around, intent on having a good time during the Carnival defile`.
AT THE BAR and AMONGST FRIENDS are all about feelings shared in a friendly atmosphere. The highly stylised figures take an alien form made out of flowing black lines, red hatchings and golden touches.
THE ODD COUPLE is reminiscent of a powerful female figure, towering on a submissive husband. Perhaps it represents a very particular case study about the old fashioned typical Maltese housewife who is the real authority at home. Standing proud and tall, her hat almost becomes a peacock crest...
PLAYING WITH MATCHES is an attempt at surrealism, heavily influenced by the famous painter Joan Miro`. A stylised human form, with which I had already experimented in some of my former works, is encapsulated in the central loop. On the right, his inner spirit is desperately trying to free itself, like some mischievous demon on the loose.
Easily recognizable are 3 safety matches at the top left hand part of the drawing.
27.09.2006
EXPECTANT MOTHER is clearly cubist. The canvas is mainly painted with warm colours and depicts a pregnant woman, lying on a bed. The distorted perspective is accentuated by floor tiles appearing as a vertical plane, in contrast to the figure which is both elongated and foreshortened.
PERCEPTION is an abstract which invites the viewer to 'see' whatever he/she wants. It is a bit like making shapes out of clouds. I guess the human mind needs to assimilate the abstract and transform it into something tangible by relating to a physical subject. In this regard, I shall refrain from describing what inspired me to produce this painting...
In psychology and the cognitive sciences, perception is the process of acquiring, interpreting, selecting, and organising sensory information.
RECLINING NUDE is a cubist female sprawled on wooden floorboards engaged in the art of seducing. Special care was given to the background namely in the curtains, window panes, shutters and portrait which hints at the subject's narcissism.
The figure is soft and round, voluptuous and sensual... it is the ultimate celebration of a corpulent woman.
THE PAINTER'S MODEL is an offspring of EXPECTANT MOTHER and RECLINING NUDE. A tired female sits cross legged on a chair in an ornate sitting room. The furniture is intricately detailed as are the plates and frame hanging from the wall.
The whole drawing is meticulously fragmented into tiny 'partitions', which have become a trademark, by being present in most of my works.
15.09.2006
I shall call the following 6 works 'The Paris Diaries' as they were painted between bouts of frantic art museum visiting, whilst I was in Paris last week.
PRIDE is the result of a doodling exercise and accidental art, ultimately leading to a female portrait. The cubist lady looks suave and powerful, nearly intimidating and arrogant; but classy. The eyes and the contained half smile are reminiscent of her noble blood. She could have easily been noted, gliding across Versailles 's ballrooms, perhaps immediately before the outbreak of the French Revolution...
VIEW PARISIENNE is another rooftops rendition with a graphical twist and an unmistakable French panorama. The idea was conceived whilst savouring the breath taking sight of Paris from the Pompidou Art Museum. Typical houses, shops, hotels and palaces lie scattered around basking under the Eiffel Tower , which is perhaps the most symbolic landmark in France . An extremely stylised sky adds to the drama, without actually stealing the limelight.
CHAMPS ELYSEES is a vibrant and fresh watercolour. The congestion of people walking up and down this long street is transformed into pure energy, especially evident in the use of red coloured threads that float throughout the perspective. The famous Arc de Triomphe looms majestically in the background.
SLAVE is spontaneous and tribal oriented, made entirely out of black and golden forms. Oppression, anger, fear and suffering are the feelings I wanted to convey through this portrait.
CLUSTER was painted on the last day of my stay. Homesick of Maltese architecture, I simply let my hand free, as the sketch of a typical village appeared within a few instants. The buildings are huddled around a church, which is the real highlight of this 'monument'. The church can be perceived as a protective mother who embraces her children with loving care. Characteristic balconies and doors adorn the facades, whilst television aerials emerge from the rooftops.
03.09.2006
Following the successful GENESIS exhibition at St James, I have been invited by Palazzo Santa Rosa Chef Patron, Claude Camilleri to put up some works at his restaurant.
In fact, MEXICAN DREAM, FILFLA, CLOUDS AND WAVES, UNTITLED, GOLDEN BAY, RURAL RAPE, CREATION, PROFILE and INTERPRET ME are now adorning its walls. Diners will be presented with a complimentary copy of the full colour exhibition catalogue - Genesis, featuring 44 works and a critical essay by E V Borg.
'Palazzo Santa Rosa is more than just a restaurant; it is a lifestyle; it is an experience that reminds one what life is all about. The ethos at Palazzo Santa Rosa is that life is too beautiful to be experienced on the fast lane of life. So the staff encourages guests to linger and enjoy the idyllic setting of Mistra Bay , one of the few inlets on the island that is still unspoilt. Palazzo Santa Rosa promotes the long lunch and dinner experience. Using only the best ingredients from Malta and across the world the kitchen produces simple, elegant, outstanding dishes that are unique for the small island of Malta . It uses wild and wherever possible, organic produce. It is a member of the International Slowfood Movement and practices Slowfood principles when it comes to the procuring of produce and preparing dishes. Palazzo Santa Rosa is a producer of various products like preserves, organic olive oil and sauces.'
SILENCE forms part of a collective art exhibition set up at eight different venues in Mdina, marking the 43rd year of Indipendence Day festivities.
29.08.2006
VISUAL RENDERING is a portrait with a difference due to the queer brushstrokes which tend to camouflage with the background, creating a 'falling confetti' effect. It is a burst of energy enhanced by the strands of floating colour. Accentuated angles and edges cover the whole face, whilst the somber eyes look out into space.
BUILDING FRENZY (strategic planning) is an ironic statement about us Maltese, who just love to build without permit (and taste!) It may also be an insult to other nonsense buildings backed up by a regular permit, constructed with the sole aim of ruining our skyline. The colourful background in the top half hints at the pride and satisfaction of the owners, oblivious to the panoramic scourge that they are creating!
23.08.2006
SUNSET OVER THE VALLEY was executed with quick, sweeping brushstrokes and a thick impasto of pigment. Although I worked from imagination, I tried to emulate plein-air painting, when an artist has to work fast in order to catch up with the ever-changing colours and shadows of the outdoors. This work is about mood not aesthetics; it is about capturing the fleeting moment - a term made famous by French impressionist painters who sought to capture effects of light and atmosphere whilst working in the open.
An incandescent sunset is disappearing fast behind the hills, thus elongating the shadows of the two trees in the immediate foreground. Blue hues mingle with the reds, rising upwards, introducing shadowed areas in the bottom half of the painting. The stream is just a mirror reflecting the flickering flames that animate the sky.
21.08.2006
BASTIONS BY NIGHT is painted in the same style as GOTHIC JEWEL, one of my favourite paintings. I wanted this landscape to move slightly towards abstraction, whilst retaining the unmistakable block houses, bastions and reflection. The viewer's eyes have to work harder in order to try to see 'things'.
A golden aura of light encapsulates the houses at the top like a transparent freshly shed serpent skin, whilst the reflection shimmers down to a black abyss in the lower part of the canvas. The space in between is dedicated to dimly lit fortifications, now devoid of recesses in order to become a quasi flat horizontal plane.
18.08.2006
CITTADELLA is raw, fiery and aggressive...
The palette in this representation of Gozo's Citadel is basically made up of block blacks and blazing reds with golden streaks serving as highlights. The composition is stylized but not distorted in order to project an image of grandeur and timelessness.
It may well be one of the most spontaneous paintings that I've ever produced, whilst working in a frenzy and literally attacking the canvas with colour. During these 'fits', I actually lose sense of both time and reason and just apply paint instinctively. In this way, I sometimes find myself looking at a finished painting without realising and with only a very vague recollection of the various stages through which it progressed!
CLUTTER AND CONTRASTS is worked with the same technique I used in AFTER THE RAIN. This mystical seascape is enriched with resplendent, golden buildings, which in turn contrast starkly with a dark, obscure sky.
The image, conjured from my imagination may very well be an extremely stylized Senglea Point cluttered with 'engraved' houses which were primarily worked in relief.
URBAN MAZE suggests a typical street on the Eastern side of Valletta , leading down towards the bastion's belvedere. This elaborate sketch rendered in pen and pencil colour is dynamic and fresh. It features a stylised perspective designed with hundreds of fine lines and hatchings. The style could remind people of architects' artistic impression drawings. Electricity cables and TV aerials are present in abundance, whilst a lone Maltese flag flutters, aided by an incoming sea breeze.
EQUILIBRIUM is the nude bust and beyond of a gymnast struggling to keep her balance. If I were to continue the figure, the hands would be outstretched and the feet placed one in front of the other. The slightly stylised figure is crude and monumental, built with bold black lines and block shadows. It is not just 'another nude' but a study of movement.
14.08.2006
I am in total agreement with everybody who expressed utter disappointment at the 'revised' opening hours at St. James Cavalier during the current month.
The above mentioned situation restricted the viewing of GENESIS to mornings only and the exhibition was cut short by 4 full days, due to the new awkward schedule enforced with effect from 1 st August.
It is really embarrassing that St James Cavalier decided to close its doors to the public at 1pm instead of the constantly advertised 9pm; especially during the MALTA ARTS FESTIVAL and the BOV STREETS ALIVE, thus totally excluding itself from celebrations to promote Arts in the Capital.
I was appalled to learn that the 'Centre for Creativity' decided to communicate its curtailed opening schedule to me only on the 26 th July. Moreover, while being present at the venue later during August, I discovered through an affixed notice that the Centre would be shutting down from the 12 th to the 15 th August, both days inclusive.
My exhibition was planned to run till the 15 th August as advertised on all media, catalogues and invitations including posters hanging from the Centre's notice boards!!! ...so much for excellent communicating skills, respect and sheer professionalism!
Ad-hoc and last minute amendments to an already published schedule are definitely not good ingredients in supporting the smooth running of any procedure, and should never take place, as this great inconvenience hits both locals and tourists alike.
Besides, an Arts festival is not only MUSIC, DANCE, THEATRE, SCULPTURE, PHOTOGRAPHY and LITERARY EVENINGS as proudly advertised on posters and flyers but should also include... VISUAL ARTS!
Thankfully, GENESIS still turned out to be a great success, whilst soundly consecrating my name within the list of local artists. Another exhibition is in the pipeline and will be held during 2007 at another venue, which date will be announced on this site.
Finally, I want to thank my generous sponsors mainly - Bank of Valletta, Emirates, Merlin, Vodafone, Vassallo & Sons & Xuereb Ltd, Valletta Fund Management, Malta International Airport, Marsovin, Charts Investment Management Service Ltd, The Ministry for Urban Development and Roads and last but not least Trevi Frames and Art.
Thank you to all those who helped in making GENESIS a positive achievement!
11.08.2006
With FROM THE STUDIO, I welcome you into my world and allow you to savour the panorama from my studio's window, from where every day I witness a different sunset!
Set against a fiery backdrop, these dark and slightly stylized fields are treated with an expressionist palette and approach. Once again, greens are muted with blacks, and dark blue hues, whilst the reddish brown compliments the bottom part of sky.
COUNTRY ROAD is calm, serene and spontaneous. A scorching sunset is depicted beyond this characteristic road leading to Ghar Lapsi, on the South of the Island . The tarmac slices its way through rural landscape and beyond, almost enticing the viewer to follow it. Selective light glows strongly on the sun burnt fields, whilst dashes of warm red hues reflect a sky set on fire.
ROOFTOPS is the latest addition to the family of landscapes. It is rugged and shows a distorted perspective of Maltese rooftops. Linear brushstrokes are meant to add strength to the painting as they cut through the highly stylized block buildings. The imposing ochre steeples almost command the centre point of the canvas whilst similar patches of the same colour scattered here and there reflect the sun's rays.
The houses in the foreground illustrate typical roofs patched with tar, a treatment required to fill up cracks caused by repeated expansion and contraction.
I finally finished COMPOSITION XI after having started working on it seven months ago. It is basically the sitting part of an old school chair which has been partially peeled off due to exposure to the elements... in fact, all I had to do was apply paint! The juxtaposed green and red parts hint at the number 11, hence the title.
O2.08.2006
WINDING STREET is spontaneous, linear and full of character. The winding element is not just reserved for the road, but is also present in the 'twist' given to these houses' perspective.
Once again, greens and reds dominate this painting, blazing their way through the various ochres and muddy hues; whilst sharp, white highlights forcefully define carefully selected characteristics.
As in all my other streetscapes, WINDING STREET is a nostalgic echo from the past, devoid of cars, shops and people.
...yet another invite to stop and ponder on our rich cultural heritage!
29.07.2006
PISTON has been lying unfinished for quite some time. It is an assemblage of various wooden parts that literally form a model piston. My idea was that with the right application of colours and a split background panel, I could actually turn an ordinary object into a dynamic abstract, whilst giving special attention to balance and composition.
The more I paint Maltese landscape, the more I think that a green sky is the best to enhance the stone colour and add drama. Another example of this is JETTY AT NIGHT (Birgu) which hints at a Venice-like rendition. The stark highlights are selectively given to parts of the buildings in contrast to a dark and partially obscure background.
Composition wise, MADLIENA BRIDGE is essentially two complimentary colours separated by a stark quasi white structure in the middle. Painted in bold, decisive strokes, it is an expressionist sunset over a harsh and imposing landscape.
Minimalist MADLIENA BRIDGE is heavy, powerful and full of fury!
09.07.2006
Post Inauguration
I would like to thank all those who attended the inauguration at St James Cavalier, which turned out to be a great success. Although I wished to, it was impossible to have a word with everyone.
I would like to thank those present for the encouraging comments and praises, my sponsors for helping me cover a large part of the expenses, my wife Margaret, my family and friends for their never ending support. (bet sometimes you found it really difficult to cope with me!!!)
A big thank you goes to the Minister, the Hon J Mugliett for delivering the opening speech, Sergio and Fleur from Artissa and last but not least Mr E V Borg, my esteemed critic who believed in me and guided me expertly through this 'genesis' of my artistic career.
Thank you...
I shall be visiting St James Cavalier daily between 7pm and 8pm.
24.06.2006
Life is a mixture of feelings.
INTERPRET ME is about coming to terms with the obscure inner self and enigmatic conflicts we all experience.
This painting is a feast of vivid greens and screaming reds, but also includes dirty yellows and muddy brown hues. A contorted figure writhes and twists in the foreground, whilst the other two look on passively.
As the title suggests, I am leaving this painting open to the viewer's interpretation, which should be as personal as the work itself...
CREATION is perhaps the most minimalist painting I have ever produced. It represents a foetus growing serenely in its mother's womb. In my opinion, I succeeded in attaining the visual balance of shapes, forms and colour.
LOVERS is yet another abstract, drawn in the style of BINOVULAR TWINS. Mostly in black and white, it depicts an energetic and passionate couple entangled during the act of lovemaking.
This highly stylised work provides a very interesting comparison to PASSION 3, where the protagonists are painted in a totally different artistic manner!
This week I visited the prolific Gabriel Caruana in his studio for a friendly chat about artistic styles, influences and experiences. I've been looking forward to this meeting since I created UNTITLED 2, which I think bears a certain similarity to some of his own works. I shall surely cherish the exchange of artistic opinions we shared verbally. Caruana is one of Malta 's finest contemporary painters.
16.06.2006
BINOVULAR TWINS was created purposely for a friend who wanted an abstract with a slight aboriginal touch.
My first preoccupation was to sketch a simple but dynamic motif which could integrate perfectly within the circular structure. Three hours on, I abolished my initial plans to use just reds, blacks and white and decided to work with bright complementary colours instead. Hence, I applied orange and blue hues and added some green highlights next to the reds. I rounded the composition off with a mixture of warm yellows and browns.
The two lines at the centre represent the mother's umbilical chord and join the blue foetus on the right with the yellow/red/green foetus on the left. They appear to be floating serenely in a warm and safe environment, which is ultimately the womb.
Binovular twins is the scientific term given to non identical twins.
These are twins that develop from two separate ova which were fertilized at the same time. They are no more similar to each other than to other members of the family.
Non-identical twins never share the same amnion, chorion or placenta. There may be, however, fusion of separate placentae.
10.06.2006
AFRICA is dark and bold, fiery and passionate. An African Negro with a very stylized square jaw and swollen lips looks outwards through gleaming eyes. He is a symbol of a suffering nation, desperately striving to achieve a better lifestyle.
The keywords to describe SALTPANS are 'fresh, colourful and dynamic.' Basically, this drawing is an elaborate study of a subject which I intend to paint in the imminent future.
03.06.2006
Due to awkward dimensions, some of my paintings could not be viewed as a whole image, inducing web visitors to scroll up and down.
Finally, this problem has been solved!
My webmaster Robert Spiteri added small images of all the paintings next to the originally uploaded pictures.
Thus, all works can be viewed as a whole image, whilst scrolling is still possible, allowing viewers to appreciate both detail and artistic balance of each painting.
01.06.2006
TEST TUBE BABIES (conveyor belt) has been constructed and painted 3 weeks ago bringing forth the argument of playing God in an artificial surrounding. I am updating it now, since I finally convinced myself that the composition is artistically 'balanced'.
The only thing I want to say about this work is that it is raw and... abstractly figurative...!
I found the following 'recipe' whilst surfing the net, in order to research the subject better:
The main medical technique of in vitro fertilization is simple to understand;
- Take from the ovaries of the mother an egg (ovum or oozyte).
- Place it with the sperm of the husband in a laboratory test tube.
- Transfer the fertilized egg to the uterus of the mother, usually 2 or 3 days later.
- In 9 months, the delivery of a healthy baby, a test-tube baby!
'The first IVF baby in the world was born in July of 1978 at Bourne Hall, in Cambridge , England . To date, tens of thousands of babies have been delivered as the result of the IVF treatment.'
On September 11th 2001, the whole world stopped and held its breath as America 's pride and joy collapsed annihilating 3,000 people.
My new painting NINE ELEVEN (scarred towers) is a symbol of the bloodshed, the agony, the fear and despair of those burnt lives. It is simply a crude epitaph to commemorate Tragedy.
29.05.2006
At present, I am really busy preparing for my GENESIS exhibition! Over half the paintings have been framed and the catalogue awaits its final touches prior to printing. From these lines I would like to thank my wife, family and friends who are helping me in every way possible.
Nearly all my new works are sequels of other paintings which I created before.
ISLA POINT 3 is an outcome of its predecessors; ISLA POINT and ISLA POINT 2. However, it is more stylized and, as someone pointed out - tent-like. The sky is treated like a mosaic of blues, with glowing rays of light coming out of the buildings.
WINE FEST is my interpretation of the Annual Wine Festival, partially drawn with the help of my trusty PC. It is the first time that I amalgamated free hand drawing with computer generated art. The initial sketch was first scanned, then coloured on computer and printed, before I added the finishing touches by hand once again.
'A pleasant breeze glides through the Upper Barrakka Gardens and fireworks illuminate Fort St Angelo overlooking the Grand Harbour . Constant toasting accompanies the clinking of glasses whilst good wine flows at a steady pace. People mingle together, socialize and laugh out loud.'
GODDESS 2 is the latest addition to my collection of 'Fat Ladies', the symbol of fertility worldwide. I seem to have a soft spot for this particular subject and give it a different rendition each time. The background was treated in the same manner as in ANTOINE, whilst the harsh angles used in OUR ORIGINS have been replaced by heavy folds of flesh which are especially evident in the thighs and belly.
CONSTRUCTION WORKERS is an abstract of vibrant colours, strategically placed forms and textures created from simple brushwork. It is quite 'primitive' and 'raw', almost resembling a cut-out. The use of quasi complimentary colours surely helps in giving added strength to the crude composition. The two shapes at the top are structural steel girders that encompass two workmen with a jackhammer. Each time I look at it, I almost 'hear' the noise and 'feel' the vibration...?
FAMILY 2 (single mother) is the aftermath of FAMILY. I painted it two weeks ago but felt unsure about the dark colours which I judged as being too strong and heavy. On seeing it again, I now think that it really captures the mood of emptiness, uncertainty and fear.
The warm, flowing hues in FAMILY have perished. Instead, a black cloud of despair forms over the two stylized figures, whilst the space formerly owned by the father/husband has been replaced by a white puff.
On the other hand, the female figure moves closer to her child, who in turn looks up in search of protection - a new and very strong bond has now been established between mother and son... the instinct for survival!
20.05.2006
Sometimes I plan my paintings scrupulously, prepare sketches, and do a considerable amount of research. On other days, I just load my brush with pigment, stare at my easel and let the unfinished work guide me through and dictate the subject!
This was the case with GOTHIC JEWEL, where abstract forms eventually turned into a tangible subject. The stylized building is representative of the sacred and sublime... golden hues mingle with crimson; blazing red strokes contrast against a murky background, whilst an audacious white line encompasses the actual cathedral.
19.05.2006
MALTESE PLATTER is a burst of colour contained within decisive black lines, which act as perimeters. One could easily argue that the end result is very close to stained glass!
This painting is a companion to MEXICAN DREAM (still life with cactus) and shares the same subject and sweeping, circular strokes of PLATTER.
13.05.2006
My latest works are FAMILY, PUMP AND VALVES and ISLA POINT 2.
All three are closely linked to my origins - that of being graphically oriented. In my belief, a good design can actually confirm an artist's talent, whilst a lacking one can simply betray him/her!
PUMP AND VALVES is the title chosen for my (basically watercolour) interpretation of a heart. I think that I managed to portray a functioning muscle which pulsates, contracts, swells and pumps. It is a representation of an explosive energy fiercely contained within a cage which is ultimately the miracle of life!
ISLA POINT 2 is another homage to Senglea, an old city with imposing fortifications and box-like houses. It is a sister painting to iVALLETTA which I created way back in 2004. Basically the only difference is the highly stylised rendering of the bastion's mirror image on a glass-like sea. I will surely produce another drawing taken from this reflection in the near future.
FAMILY is painted from a child's point of view. On the left, a motherly figure hovers over her offspring in a sense of protection, whilst the father on the right hand side is walking out on his family.
It is the epilogue of a tragic act visually manifested through the colours that encompass these protagonists like auras. The warm, flowing hues are slowly invaded by the trembling uncertainty of bluish pigment which could actually break both the representative and visual balance of this painting.
The great Pablo Picasso (1881-1973) once said ' Every child is an artist. The problem is how to remain an artist once he grows up .'
04.05.2006
Indeed I am starting to appreciate all forms of artistic expression, without distinction.
Aboriginal Art got me hitched. So naive, so simple yet so balanced and peaceful... I decided to surf the net once more and look closer at more aboriginal patterns. The end result is SLIGHTLY ABORIGINAL 2.
This time I willingly tried to paint like a child, letting the brush glide without being meticulous about sharp and even edges. Simpler said then done, believe me! However, after the first unsure strokes, I started to let go and savoured every moment. I could feel myself grinning...it surely released the child in me!
29.04.2006
SLIGHTLY ABORIGINAL was a challenge. The structure is made up of 3 different pieces of wood, which were strategically placed together. Five sketches later, I decided to start painting until the evolving patterns reminded me of aboriginal art. The 3 white circular patterns are actually the result of researched material which I eventually modified in order to balance the whole composition.
24.04.2006
BIG BLUE BALCONY is a streetscape with an oversized typical Maltese gallarija hanging in the foreground. Here I decided to break some basic perspective rules in order to obtain a punchy layout. This can also be noted in the absence of the wall right above the red balcony. A fresh afternoon breeze lightly caresses the thick embroidered festive banners that adorn the winding alley...
Also new is MEXICAN DREAM (still life with cactus) ...and lemon, orange and tequila bottle! It is an object drawing in a unique style with which I experimented for the first time.
17.04.2006
My last work, IL-KOPPLA, is very similar in style to MDINA. Besides, both paintings are nightscapes and basically portray the same subject.
With IL-KOPPLA, I wanted to interpret one of the many churches we have on our islands, from a different perspective. I chose to focus on the dome and spire instead of the whole building. The strong, white lines are highlights that actually cut and slice through the pitch black summer sky. On the other hand, they may suggest the celebrative lights that adorn Maltese churches during festas.
15.04.2006
HAGAR QIM 3 (triptych) was commissioned by a client who wanted to morph HAGAR QIM 2 with the scarlet background and layout of RURAL RAPE (triptych).
Large dolmen slabs are depicted as warm flickering flames that reach upwards towards a matt red sky. The fine black outline that encapsulates the stones gives the painting a modern touch, almost rendering a cut-out effect enhanced by a foreground of quasi flat black.
The mystic and somewhat imposing form of FILFLA compelled me to add this odd seascape to my portfolio. I used large hurried brushstrokes to interpret a raging storm which is about to hit the island. The result is a forceful and dynamic representation.
Filfla lies about 5km off the southern coast of Malta , covering a surface area of only 2.5 hectares. Over the past two hundred years, the island has undergone a lot of changes in its contours, mainly due to continuous bombing whilst being used as target practice. Due to isolation, Filfla produced an interesting variety of animal species and is now a nature reserve.
06.04.2006
ST ANGELO 3 is my latest interpretation of this lovely fort. In contrast to the previous two, the style is minimalist. In fact, large coloured blocks worked in relief stand out boldly against an intricately textured background of brilliant white.
Imagine a world without trees. Wood is so hard to find that it becomes more precious than gold! In retrospect, DEFORESTATION (listen to our screams) is a sacred relic that withstood time. It is a painful reminder of how our planet was before trees ceased to exist; a bloodcurdling wail that the human race didn't take heed of.
The painting is basically a collage of various wood and a partially burnt photograph of a forest juxtaposed on each other.
In PRECIPITATION OVER DINGLI CLIFFS, the textured sky is the real protagonist and occupies a third of the painting. It is a horizontal representation of a thick and heavy atmosphere that actually conveys a bleak mood. The palette is muddy and somber, occasionally lit up by flashes of red highlights.
29.03.2006
I just finished working on SEDIMENT, which is essentially a sea shell stuck onto a bed which was structured with mixed media. I wanted the work to look real - as if it were some kind of fossil which could actually be framed on a wall.
Sometimes, I feel like interpreting nature quasi photographically and research textures in depth, as in this case. At times, I just let my frenzied brush strokes get the better of me and let go...
VIRTUAL PALETTE is a companion to VIRUS, in fact the concept was an offspring of the latter. However, is it installation or assemblage? Is it art? How do we classify something as a work of art? Should it meet any particular criteria? Finally... what is art?
Well, these are some of the many questions that I discuss ad nausea with my artist friends, Alfred Portelli and Karl Spiteri.
I think that VIRTUAL PALETTE is quite surreal. It alludes to the graphic artist who paints and creates virtually. Now, what if the mouse is a paintbrush? The keyboard an easel, and its lamination containing conductive paint tracks turns into a palette? Metaphorically the panel becomes a desk complete with coffee mug stains on either side. These were my main preoccupations that spurred me to complete VIRTUAL PALETTE.
At this point creating art has become an urge for me. I must paint daily, I must create and I must express myself in order to feel free..
28.03.2006
One of the joys of teaching art is that I actually learn from children...!
Yesterday afternoon my pupils at Carlo Diacono JL were drawing cubist faces. Copying from the whiteboard, twelve year old Alberta Callus drew erratically; however the unwanted distortion propelled me in asking her to lend me the sketch. I promised that I would use it as reference for one of my paintings. (Try picturing the reaction of her classmates! ! !)
In this way I created GUARDIAN ANGEL. The two eyes at the top belong to an angel who is watching over someone. The rest is the face of the protected person. Surprisingly, this work is my most Cubist so far!
27.03.2006
SCOLDED is all about feeling humiliated.
The subject is overpowered and looks uncomfortably small against a background reminiscent of depressing colours.
His skin tone appears sick, his eyes lost and the face is devoid of a mouth. He cannot answer back and defend himself.
The scolded man lacks features simply because he lost his dignity and feels unguarded against this hostile situation.
SCOLDED is all about feeling helpless and uncomfortable. It is a recount of innermost emotions that are manifested through a distorted appearance.
My new work is really strange! With VIRUS, I feel that I ventured into the world of assemblages.
In allegorical terms, the decaying keyboard represents a computer which is infected with a virus caught on internet (hence the www scribbled on the 3 circles at the bottom left corner.) I alluded to what happens biologically when cells degenerate and ultimately die.
The dry wooden bark symbolises absence of life - the seizure of the computer's main functions due to its corrupt system.
The 3 circles on the keyboard are error messages displayed by a machine without any function.
23.03.2006
TOUAREG is my latest addition to the portraits section. It was executed in coloured pencils using calculated scribbles and hatchings. More than anything else, TOUAREG is a two hour sketch rendered in vibrant hues and decisive strokes.
21.03.2006
The style used in AFTER THE RAIN differs to others with which I expressed myself till now. The outlines of the houses and windows were 'scratched in' with the wooden end of a paintbrush in order to achieve desired textures.
The composition was conjured within my mind, an imaginative landscape, yet so characteristic of Maltese villages which are typically huddled around the main church. From an iconographical point of view, the latter represents maternal protection.
The buildings look wet after being hit by a passing storm, however they came out unscathed. Whilst the palette portrays a chilly atmosphere, weak rays of sunshine are reflected on the residences. A new day is born...
12.03.2006?
I've been harvesting the urge to paint a human embryo for years. SILENCE is quite straightforward. I tried to interpret life within a mother's womb and depicted an almost transparent baby growing in a protected environment.
I hinted at bone structure, the spinal cord and nerves leading to the brain. The umbilical cord is made from a thick impasto, as are the hands, feet and parts of the face.
In CARNEGIE STAGE 18, I expressed myself through quick gestures and applied drip paint to abandon. The result is as an explosion of colour. However underneath the visible layer, lie four other interpretations of the same subject, each worked in a diverse artistic style.
Through the drip technique, I wanted to convey the life and vigor of rapid transformation from microscopic cells leading to an early embryonic stage.
CARNEGIE STAGE 18 is the scientifical term given to an embryo which is 44 postovulatory days old.
27.02.2006
FOSSIL was created exclusively for someone who really loves aquatic life.
I was not interested in portraying a straightforward marine creature, so I modelled the bone-like structure of a fish lying on a tortoise-shell sea bed. The finish closely resembles fired, glazed clay; however; this is just an illusion created by gloss enamel paint.
The concept behind FOSSIL may be considered as an off shoot of PRE-HISTORY, which was completed last December.
17.02.2006
I had started working on ANTOINE in December, soon after the great Maltese artist Antoine Camilleri passed away, aged 83.
His art has mesmerized me since childhood, in fact, whenever I attended Holy Mass in Tarxien, Antoine's stained glass Crucifixion (c1971) always got my full attention!
Having never met the artist in person, I ended up using a badly pixilated photograph I found on the net as reference. I knew that all odds were against me, however, I stubbornly continued working, slowly adding geometric facets and lines in the process.
I am not sure about the resemblance but this is my very own 'tribute portrait' to one of Malta 's finest artists... Grazzi Antoine!
FISHERMAN depicts the weathered face of a seaman whose rugged looks were formed by time. It is a companion piece to OLD MAN and OLD MAN 2.
04.02.2006
I just completed ROXANNE WITH RED HAT. This massive portrait (122 X 94cm) depicts a 1940s prostitute all dolled up, but with sad and tearful eyes that stare vacantly at the viewer. They are eyes of madness that scream and implore!
The grotesque face is like a mask; dissected and fragmented. Roxanne is no longer an immoral person but a woman with feelings concealed under thick stage make-up... a strong character who fights against her embarrassed inner self day after day.
Roxanne is each and every one of us.
WAYSIDE CHAPEL is my way of interpreting St Lucy's chapel at Mtarfa which was built in 1500. I painted it last month but was not really satisfied. Yesterday, after some flash of inspiration, I applied blacks, reds and greens, which helped me fragment the image further. Then I added a tree on either side and reworked the sky from scratch. Here it is...
Walking through Valletta , I can't help not looking upwards. This was my inspiration behind RED BALCONIES. The orderly, mathematical clutter of traditional wooden olive green balconies has always fascinated me.
In my painting, traditional greens give way to blazing reds whilst frenzied brushwork hints at the baroque architecture of the Maltese capital. The texture I created may almost suggest crumpled tissue paper. This composition is similar to CLIFF FACE in both the technique and types of mixed media used.
All artwork can be finally viewed at a glance when selecting the new QUICK TOUR button. Images are displayed alphabetically and change rapidly when clicked.
14.01.2006
My latest works are HILLTOP, CLIFF FACE, CLOUDS AND WAVES and STAIRCASE BY THE SEA.
The latter is a companion to FIELDS, very similair in both style and format. I was inspired by Italy 's beautiful landsaping in Positano where houses and sea seem to meet. I sketched from memory and stylised wherever I felt like.
CLOUDS AND WAVES is more audacious. Actually, the clouds, waves and land are a relief and cast shadows. This seascape may recall St Paul 's Islands or Comino as seen from the Maltese coast.
In HILLTOP and CLIFF FACE I experimented with thick colour, mixing oils with acrylic and enamel paint. In some parts I applied drip painting, which was made famous by the great American artist Jackson Pollock.
02.01.2006
FIELDS is made in the same style as PRE-HISTORY.
I aspired to an aerial view of Maltese fields enriched with deep earthen hues and manipulated the perspective by adding a second plain - the skyline! Thus, the fields appear as being planted vertically. On the other hand, the sky could be interpreted as the sea, giving the painting another dimension... the Maltese coastline as seen from above. Pick your choice!
The outcome made me so enthusiastic that I completed FIELDS (summer) and FIELDS (winter). Both are very similar to the original, except for the hues.
In FIELDS (summer) the palette is loaded with browns and ochres depicting an agricultural drought due to the harsh seasonal climate. Some very dark patches are symbolic of burnt areas. Even the relief forming the base is shallower.
A rainfall beckons on FIELDS (winter). A kaleidoscope of various greens fills the board rendering the idea of a rich harvest growing on fertile soil. White was randomly mixed with some of the greens to illustrate already flooded areas.
From here I must thank sig. Mauro Griva, webmaster of Italian artist Vincenzo Balsamo for granting me web space in the latter's site.
Special thanks go to my critic, Mr E V Borg, whose recent write up about my works is featured in Air Malta 's in-flight magazine, January 2006 edition.
Freshly added to the Biography Section is another article by EV Borg's which featured in Air Malta 's in-flight magazine, December 2003.
23.12.2005
Once I start experimenting with new media, I literally can't stop until I have exhausted my ideas! During these days I finished PRE-HISTORY and SPACE.
The former is a fossil-like structure that seems partially embedded in soil. The medium is the same as in TEXTURE. Creating the 'backbone' in relief was my main concern whilst the earthen colours helped in adding depth, mingling with the cast shadows.
In retrospect, SPACE is essentially 3 sheet aluminium cut-outs virtually floating on top of 3 rectangular coloured blocks. Choosing the right shape for the cut-outs and the perfect area where to rest them proved to be really tough! No matter how much I twisted and modified the structures, I wasn't happy; until almost by accident... they literally fell into place. I feel that the outcome is spatially harmonious and well-balanced.
I will definitely keep on experimenting and try to exploit these media even further!
New in this site one can also find the straightforward ZEBRA (diptych) and TEXTURE 2.
Wishing you all a very Merry Christmas and a Prosperous New Year!
14.12.2005
OUR HERITAGE depicts a statue of the Fat Lady found at the Tarxien Neolithic temples. This is the third Goddess in my portfolio and the style is the same as in CARNIVAL (angular folds).
The yellow visualises the hot Mediterranean sun beating mercilessly on the carved limestone. Crisp, clean lines and geometric shapes on the dress folds add interest to the slightly distorted perspective. Special care was given to the stylised feet and to the heavy black cast shadows. Ultimately, the drawing is reminiscent of a cut-out... a contemporary rendering of bygone times.
25.11.2005
Back to the 3 primed boards...
I went to work on one of them and covered it with various thin layers of paint. It was then that I decided to stop as the outcome resembled an iron-ore colour hugging the strange extruded texture I had created last week. The more I looked at it, the more I convinced myself that it was ready...
This is the story behind... TEXTURE!
22.11.2005
I spent these 11 days working on 3 different works... but lacked the inspiration to finish them. All I managed to do was actually prime 3 wooden boards! However, I completed CARNIVAL (angular folds). I am particularly fond of this portrait which may initially seem somewhat loud and naive... but take a closer look at how the face is dissected and folded. Painstaking hatching and cross-hatching were utilised in order to make the shapes come to life.
I had no sitter and sketched from my imagination. This sexless face is essentially cubist and may recall stained glass. The subject's eyes are defiant and arrogant. On completion, I recalled a similar painting of mine - CARICATURE IN GOLD. Same hairstyle, same pose, same angle... different character!
11.11.2005
BIG BANG is the latest addition to my creations. The medium and style used are the same as in SOLAR SYSTEM and SOLAR FLARE but its composition recalls THE MARTIANS ARE COMING and UNTITLED. The concept behind this work is explosive energy, movement, power, life and grandeur. On the other hand, there is a streak of malignancy, turning the sphere into a menace that can obliterate...
04.11.2005
Met up with Sergio Muscat who offered me web space in his Artissa cyber gallery. Artissa is a young venture with a simple, exciting, yet arduous mission: Promoting art worldwide . Last year they worked with both emerging and established artists, and are striving to build partnerships with foreign organisations that are able to market locally based artists internationally.
I completed SOLAR SYSTEM and SOLAR FLARE. I think I owe these to the style of Vasily Kandinsky, who was the first artist to arrive to the idea of total abstraction. His bright colours, and basic shapes have been in my subconscious for quite some time. I compare them to KETTLE which I executed earlier this year.
30.10.2005
RURAL RAPE 2 (rooftops) is a typical Maltese village waking up to a rainy morning. TV aerials, satellite dishes, electricity cables and air-condition units fill the painting. It is the price that we are paying to enjoy life's commodities. Freshly washed laundry hanging from a clothes line is the only nostalgic echo from the past.
RURAL RAPE 3 (suffocation) is the story of Babylon retold. New "Lego blocks" have been added. Where is rural land gone? The human race is now building vertically, until even the village church's spire and dome no longer remain the significant landmarks of Maltese landscape.
25.10.2005
Your response was wonderful. I received very positive feedback through the numerous hits and comments.
This week was a hectic one for me as I produced 4 new pieces - PROFILE, UNTITLED 2, RELIC and RURAL RAPE (triptych).
The former is a detailed study of an African woman's portrait produced with intricate hatchings and cross hatchings in ink, very typical of my style.
UNTITLED 2 and RELIC are abstract works with red, gold and black being the prevailing colours. I experimented with the new medium used in UNTITLED until I obtained the desired result - an impasto of plains and a sort of 'basso rilievo' which was then covered in acrylic.
RURAL RAPE (triptych) depicts virgin landscape that has been developed for housing. Cluttered apartments suffocate the painting, obstructing the view behind them. Nature therefore rebels and the hills turn bleak under a blazing red sky. These same houses are destined to age and become old fashioned; hence their owners seek newer areas to develop...
The launching of my website is clearly propelling my creative side, so keep visiting and check out the new work.
15.10.2005
welcome to my website...
Drawing has been a passion of mine for as long as I remember and my artistic expression is the result of many years spent experimenting with various media. The work is constantly evolving as I try new techniques and observe diverse artistic elements and statements from around the globe.
My inspiration comes from everyday life, people's characters, their experiences, their joys, sorrows and moods which I attempt to portray and immortalise. My country's rich cultural heritage also acts as my muse and is becoming a recurring element in my works.
This is why I chose "interpreting life through passion" to describe my current creations.
my heartfelt thanks go to...
My wife Margaret for her support, love and understanding.
Robert Spiteri for materialising and maintaining my site.
Mr E V Borg , my artistic guide and respected critic.
My family and friends who believe in my art and encourage me in all my endeavours.