Issue link: https://maltatoday.uberflip.com/i/1537460
1. What's been the most defining moment in your career so far? Two key projects have defined my early career. The first began in 2017 in Tunisia, where a personal moment in a shop remi- niscent of my Maltese roots sparked a visual exploration blending vernacular and original photography. I developed its first chapter dur- ing a 2019 masterclass with FLORE and Sylvie Hugues, and later exhibited it across France. This project culminated in the solo show Mal- ta–Tunis–Marseille (2021) and won several recognitions, including the CAP Prize and the Eyes Wide Open 1st Photobook Award. The resulting trilingual book was published in 2023. The second project, The Last Breath, emerged in 2019 after I discovered a map of missing migrants in the Mediterranean. It became a tribute to lives lost in search of safety. With the support of Melanie Erixon and Il-Kamra ta' Fuq, it grew into an immersive installation, later showcased at the Circulation(s) Festival in Paris and nominated for two major Maltese art awards. 2. As an artist, how do you navigate the world and speed of social media? I try to limit my use of social media to avoid becoming overly dependent on it. I created an account when I moved to Malta nine years ago, after a friend advised me that it was the best way to stay informed about cultural events on the island. I primarily use social media to promote my work, though I don't post regularly. As a result, I may lose some audience engage- ment, but at the same time, when I do share something, it tends to carry weight and significance. Naturally, I follow fellow artists, curators, and others involved in the cultural scene. It's also a useful tool for discovering open calls and opportunities. Moreover, social media helps me stay updated on the work of NGOs I support, particularly those focused on human rights and environmental protection. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? For now, I am more concerned about how people are using AI for everything without understanding the environmental impact it carries. When I saw the trend of Studio Ghibli-style images generated by AI spread- ing rapidly online, I was deeply frustrated. Firstly, because these images were created without the studio's consent. Secondly, the environmental cost of training AI models and generating just a single image is significant, involving large amounts of electricity and vast quantities of water to cool data centres. What upset me even more was the con- tradiction between this trend and the core philosophy of Studio Ghibli, which champions environmental awareness and sustainabil- ity. To see artists, who should be defending creators' rights, sharing these AI-generated images was disheartening. The trend, like so many others, felt empty and disconnect- ed from the values it imitated. Even using ChatGPT to answer a simple question, perhaps one that could easily be resolved with a regular internet search, consumes roughly ten times more energy. In my own practice, I choose not to use AI. While I do use digital tools, I focus on creating tangible artworks and installations, things that, for now, AI cannot genuinely replicate. My ideas evolve organically over time, which is, for me, the essence of artistic creation. I prefer meaningful conversations with friends, fellow artists, and curators over relying on a machine that recycles and repackages the ideas of others. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I started visiting exhibitions on my own when I was a teenager, and that passion has never left me. I'm an addict! Whether it's exhibitions in museums, galleries, outdoor installations, performances, dance, theatre, or concerts, I love multidisciplinary events were creativity and inspiration flow abundantly. Art books also inspire me. They are wonderful companions, especially during difficult times. They help me disconnect from negative emotions and learn from other artists, not just through their work, but also through their life journeys. The artistic path is rarely linear. 5. How do you balance your creative instincts with the expectations of your audi- ence or collaborators? Most of my artworks are political in nature, raising awareness of environmental and human rights issues. I aim to communicate these messages to the general public through images and installations, messages that peo- ple might not be aware of, or that may prompt them to question the world around them. On one occasion, I was particularly mindful of my audience when I was invited by Melanie Erixon and Spazju Kreattiv to create an instal- lation for the ZiguZajg Festival. I wanted the message to be easily understood and visually engaging, especially for younger audiences. The result was Hidden Beneath, an installa- tion addressing the issue of plastic pollution in our seas. While I always start with a clear idea, I believe that the curator plays a vital role in broaden- ing my perspective and encouraging me to think outside the box. I've already mentioned Melanie Erixon, with whom I've worked on several projects, including my upcoming solo exhibition Threads of What Remains. I would also like to acknowledge Raphael Vella, Mar- gerita Pulé, Elise Billiard Pisani, Elyse Tonna, Virginia Monteforte, and Roderick Camilleri for the enriching conversations we've shared. 6. How do you approach a new project? Do you have a specific process or routine you follow? Some projects come from within, from ideas you feel strongly about, with powerful messages you believe need to be shared. You begin to build, create, and produce these works without knowing if they will ever be exhibited. They come from a personal convic- tion that the work matters. But there are projects you apply for because you feel your voice or concept aligns with a specific theme, or you may be invited by a curator whose research resonates with your previous work. In such cases, I usually begin by asking myself, "What do I want to say?" I conduct extensive research on the subject, allowing various ideas to emerge. The medium can vary from photography, video, sound, sculp- ture, or installation. Ultimately, the idea that lingers the longest and grows the fastest in my mind is the one I pursue. 7. Can you let us in on some of the future projects, works? I currently have a solo exhibition, Threads of What Remains, at the Wignacourt Museum in Rabat (5–26 July). It explores our rela- tionship with the ocean through underwater photography, embroidered images, and sculptural works. The ocean is essential to life, producing oxygen, regulating climate, and sustaining biodiversity, yet it's under severe threat. From plastic pollution to overfishing and climate change, our neglect is alarming. The recent UN Ocean Conference (UNOC3) was especially disappointing; the continued allowance of bottom-trawling in Marine Protected Areas is unacceptable. I'm also part of Two Moons and Two Suns at the Malta Society of Arts (3–20 July), where I'm presenting In Between the Sea Level. This installation is part of Fictive Archive Investiga- tions, a collaborative international project led by Claire Ducène. maltatoday | SUNDAY • 13 JULY 2025 ART Julila Borg's Inner Garden: A lyrical journey of creativity, presence, and emotional bloom PAGE 2 ART Anthony Weitz's latest solo exibition Chasing the Light: Malta en plein air PAGE 3 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A KATEL DELIA 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? When I was a student, I discovered the work of Zineb Sedira and Christian Boltanski. Their messages and the way they construct their installations have stayed with me ever since. I admire how they occupy space and how they engage with the volume of a room and create an atmosphere through careful use of light and, at times, sound. A few years ago, I had the privilege of meeting the remarkable photographer Sabine Weiss (1924–2021) on a few occasions. She had an extraordinary career, with numerous international commissions, yet she also managed to develop a deeply personal and impactful body of work, at a time when the photography world was overwhelmingly male-dominated. Although her photography is not directly related to my own practice, I find great inspiration in her work, her joyful spirit, and her unwavering perseverance. Katel Delia is a French multidisciplinary artist based in Malta. She has held solo exhibitions at Spazju Kreattiv, including Malta–Tunis–Marseille (2021) and Familja migrAzzjoni (2017). Her immersive installation The Last Breath, created at Il- Kamra ta' Fuq, was later shown at the Circulation(s) Festival in Paris. She recently published her first photobook. Her latest exhibition, Thread of What Remains, runs from 5–26 July at the Wignacourt Museum. 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