HUMAN is an exploration of what goes on in the head of ten emerging, fresh-out-of-college artists with what one can call ‘being human’. This exhibition, hosted by BLITZ, offers an insight into how these artists relate to some aspects of living in society. Being a collective of multi-disciplinary work, the showcase is a peep at the interesting variety of art that is being made in Malta.
To better explain the theme of the exhibition here’s a look at what some of the art is about.
George Micallef Eynaud opens the exhibition with an oil painting called Liberal. It is a take on the word ‘travesty’ in reaction to the distorted or absurd conceptions that seem to emanate from society when looking at global events, especially recent uprisings in the Middle East.
Matyou Galea deals with boredom and how it can be the catalyst of creativity. His sculpture Line Sound Synthesis is exceptional due to the fact that by using junk metal, Galea potentially creates a sound machine; an interactive musical instrument.
The collection of charcoal drawings by Jeremy Amaira called The Spectacle of Dead is quite literally a definition of a spectacle of death, lined through a repetitive series of drawings of explosions. The explosion in itself is the antagonist of life – it destroys landscapes, habitats and nature at one end; families, lives and humanity’s sense of peace at the other.
Through Ethereal series, Michela Said explores being a woman – the feminine body is a staple in popular artistry, yet what about the females? This series explores the sense of physical awkwardness and resulting alienation. By creating fabric extravaganzas, she amalgamates the largely women’s craft of sewing with fine arts, and beautiful depictions of ‘majestic animals alongside female figures, in almost intimate, provocative positions.’
In growing up we cling to things – with a special idealism – to childhood. Thea Vella takes us on a little walk around her grandmother’s house, providing us with drawings of individual rooms and spaces that we can stitch together into what one can call a DIY childhood memory exercise. How do these memories shape us now that we have grown older?
Francis is a Maltese archetype who hangs out at the band club guzzling beer and whiskey, debating football and partisan politics, and is married to his dog or bird more than to his actual wife. Rebecca Bonaci takes the interminable questions about her place in the world and translates them into a portrait of a golden man who is obviously important as a human being, without us really knowing why.
Aaron Bezzina gives Christ a photoshoot. This might sound absurd and it truly is. However, on closer inspection of the narrative, Christ, who here is an allegorical icon, is going through a transformation. As Bezzina himself aptly put it, “[The Individual] appears to be attempting to reinvent himself in every frame only to realise how absurd the outcome is.”
Christian Micallef’s work is created around catholic notions of sin, redemption and death, making his work’s aesthetic reminiscent of church interiors. The two Godsend pieces bear resemblance to church altars – the wooden cabinets contain the mice that feed snakes as the altars contain saints that feed faith – the snake a metaphor for materialism. A self-portrait seems to be placed in between as a suggestion that mortality is inevitable, be it saints or snakes you believe in.
Darren Tanti explores humanity’s preoccupation with reality by delving into the subject with a new twist – 3D painting. Its classical subject and execution, are completely re-imagined through the visual effect created. It is a merging of painting techniques and scientific knowledge, in an attempt to create a hyperreality, when seen through the appropriate glasses.
The only work in the form of digital media, Roxanne Gatt’s video explores the human condition by questioning whether there are any inherent human characteristics. The video investigates alternative realities by disrupting language and restructuring it in a way that alters its meaning. In doing so the artist is able to expose ways in which our culture constructs us like a language, and open up ways to imagine how it could have been done differently.
The exhibition will be open until 9th October, with an all day opening during Notte Bianca on 5th October. Opening hours at BLITZ are Tuesdays and Thursday from 10am till 3pm and Saturdays from 11am till 1pm.