Issue link: https://maltatoday.uberflip.com/i/1536968
1. What's been the most defining moment in your career so far? It's hard to pinpoint a single defining moment, as I feel there have been several along the way. As an artist, I would say that participating in the Venice Biennale in 2017 was definitely one of those pivotal experiences that left a lasting imprint on me. Being part of the team of artists and curators in HomoMelitensis – An Incom- plete Inventory in 19 Chapters, and having our national pavilion rank among the top five of those editions, was truly incredible. Another major milestone was the inaugu- ration of my 2022 exhibition Inaction is a Weapon of Mass Destruction, held across two venues—Spazju Kreattiv and Il-Kamra ta' Fuq. The response was overwhelmingly positive. It received numerous reviews both online and in print, captured the attention of audiences beyond the art world, and was even nominated for the Premju għall-Arti – Production of the Year: Visual Arts. 2. As an artist, how do you navigate the world and speed of social media? I have a love-hate relationship with social media. While I fully appreciate its impor- tance and relevance in today's society, culture, and market, I'm also very aware of the adverse impacts it can have on its users. Social media is oversaturated with stimuli and content, both good and bad, so I feel it's crucial to be selective about what we consume and share on these platforms. Being constantly flooded with visuals, sounds, ideas, and whatnot can overwhelm the mind to the point that it blocks the creative process. Even though I have an online presence, I use it in moderation—I'm much better at spending time painting than setting up cameras and editing videos to post online. That said, I truly admire those artists who are able to do so; it takes real dedication to produce that kind of content. Creating visual content is a very effective way to promote and share one's work and brand with the world. Perhaps, in the near future, I too will learn the 'art' of producing social media content and start sharing my work more consistently online. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? Lately, I've been exploring this very question with my students in theory classes, and it's been fascinating to hear the responses, concerns, and hopes of the younger generation. I believe AI is already changing—and in many ways defining—the art landscape across the world. In Novem- ber 2024, the first humanoid robot, Ai-Da, sold her portrait of Alan Turing for over a million dollars! This wasn't the first time that AI-generated 'art' sold for staggering amounts, and it's clear that the art market is open to these possibilities. Some see this as a potential threat; others view it as an opportunity. AI tools are, in themselves, instruments that can enhance the production and performance of both artists and non-artists alike. Artists will need to learn how to coexist with this new reality, just as they did with the printing press, the camera, and digital software. I do believe certain creative sectors may suffer, but for visual artists, this could actually be an opportunity. 4. How do you stay motivated and in- spired, especially during tough times or when the work feels hard? Like any other artist or creative individual, I go through phases where I lose motiva- tion and inspiration—the infamous 'artist's block'. How I deal with it really depends on the situation I'm in. Sometimes, I simply embrace the moment and let it be. Other times, I turn to technical exercises that help me get back to work without the pressure of needing to be 'creative', hoping that this kind of movement will eventually unblock me. There are also moments when I go through my sketchbooks or revisit unfin- ished projects, or even folders of ideas for future works, to reignite a spark and find renewed enthusiasm. And if none of these strategies work, I often find solace in books or the cinematic world. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? This is the million-dollar question! Al- though I'm inclined to be a team player, when it comes to the creative process, I find it difficult to limit myself to accommo- date others. When it comes to art, I struggle with sticking to rigid guidelines—even those I set for myself—because I constantly shift and develop my ideas spontaneously throughout the process. Most curators who have worked with me know this—my ideas often keep evolving right up to the very end. Being aware of this tendency, I often experience a degree of stress when I'm commissioned to create an artwork or get involved in a collaborative project. I try to 'contain' my ideas and shape them to fit the agreed or expected outcome—but it's never easy. That said, I usually manage to find a balance between these tensions and work my way toward a satisfying result. I believe that by now, the audience who follows my work has come to expect the unexpected. Even though I come from a painting background and first entered the art scene as a hyperrealist painter inter- ested in traditional techniques, I've since opened myself up to a wide range of visual languages and media. 6. How do you approach a new project? Do you have a specific process or routine you follow? Usually, my projects arise from a need to understand. By nature, I'm very inquisitive, I love learning and sharing knowledge with others, so my art often becomes a vehicle for engaging in that process. The initial spark typically comes in the form of a question, a sense of curiosity, or a search for an 'answer'. I begin by researching and gathering information or visuals. I read whatever literature I can find that relates to my inquiry, watch documentaries and films, listen to music. While I'm in this exploratory phase, ideas start to form; questions, connections, metaphors, and analogies begin to take shape. I log these ideas, mentally or on paper, and begin searching for visual metaphors or concep- tual complexities that can enrich the work. A thought process I often enjoy is thinking divergently, exploring multiple directions, and then convergently, narrowing things down to arrive at unexpected concepts or visuals. At this point, I'm usually deeply immersed in my own world, thinking in a language I've developed around the particular project, and creating art that fits within this conceptual framework. This part can be 'dangerous' as viewers who are not familiar with the conceptual framework of the artist or the development of such vis- uals might not fully understand the artwork presented. Yet again, viewers are invited to read the artist's statement to get in line with the artist's concept. After compiling several ideas, I start prun- ing them. I then consider which medium and method best suit each individual artwork and begin production. I often con- tinue to adapt and change the work during this stage, responding to what unfolds during the process. 7. Can you let us in on some of the future projects, works? On Friday, 20 June, my latest project In Search of the Unknown was inaugurated at Il-Kamra ta' Fuq in Mqabba. This project isn't intended to present a finished body of work, but rather to offer a snapshot of artistic research in progress. Viewers will encounter artworks that are in transition— bridging past projects and new experimen- tations. I believe it takes a certain courage to exhibit work that even the artist is still coming to terms with. Often, this stage of creation is kept hidden, confined to the studio or shared only among fellow artists. With this project, I want to bring that pro- cess into public view. maltatoday | SUNDAY • 29 JUNE 2025 MUSIC Ghaxaq Musical Festival 2025: World- class acts, local icons and unforgettable summer energy PAGE 2 CULTURE Grand Ambitions: A landmark exhibition of Francesco Laparelli's visionary drawings PAGE 3 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A DARREN TANTI 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? It's difficult to answer this question defin- itively because I've been influenced by so many artists from different periods and styles. From a young age, I was captivat- ed by Baroque masters like Mattia Preti, Caravaggio, and Diego Velázquez. I was also mesmerised by the work of Giuseppe Cali; his work in Maltese churches left lasting impression on me early on. As I grew older, I became fascinated by the refined academicism of William-Adol- phe Bouguereau and Lawrence Alma-Ta- dema. Their technical mastery deeply influenced my early artistic training and appreciation for classical technique. Then, during my higher education, I was introduced to contemporary art—and it blew my mind! I discovered Gerhard Richter, Anselm Kiefer, Michaël Borre- mans, John Currin, Chuck Close, Mitch Griffiths, and so many others that it became impossible to keep track of them all. Each of these artists left a mark on my development in some way—whether through their technique, their conceptu- al depth, or their bold engagement with tradition and innovation. Darren Tanti, is an artist and lecturer of fine art at MCAST. He has been active in the local arts scene for over 15 years. He has participated in numerous and prestigious exhibitions in Malta and overseas. His artistic career is defined by continuous experimentation. 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