Issue link: https://maltatoday.uberflip.com/i/1539671
1.What's been the most defining moment in your career so far? One moment that really stands out is when I presented my work to King Charles III while I was studying at the Royal College of Art. I was still a student trying to figure out what I could do with clay and how to find my own voice through the material. That experience gave me a big boost of confidence and encouragement. A few years later, I was asked to design porcelain elements for King Charles's coronation cake. That felt like coming full circle. For me it showed how porcelain can exist in many different settings, from experimental work in a school studio to something symbolic and celebratory. That mix of past and present, fragility and strength, is what I always try to explore in my practice. 2.As an artist, how do you navigate the world and speed of social media? Social media still feels like a puzzle to me. On Instagram I have built a strong following, and it has helped me sell work and created some amazing opportunities. Some posts have reached millions of people, while others I thought were strong barely reached anyone so it can be very unpredictable. However, I still see its value. It allows me to share my work with people all over the world, not just those who can see it in person. I do not always find it natural to record my process or to be online all the time, but I also enjoy showing people a glimpse of how porcelain is made. For me it is about finding balance, using social media as a tool to connect, but still keeping space for the slower and more private flow of making in the studio. 3. Do you consider artificial intelli- gence a threat to your career, or an opportunity? At the moment I do not really see AI as either a threat or a big opportunity for my work. I sometimes use it to help with small things like writing or organising, but when it comes to porcelain itself, I do not see how it fits into my process right now. That being said, I have always been open to new technologies. My work with 3D printing shows how innovation can become part of craft without replacing it. So, I do not rule out the idea that AI might play a role in the future. For me it is less about the tool itself and more about how it can serve the material and the story I want to tell. 4. How do you stay motivated and in- spired, especially during tough times or when the work feels hard? I have learned not to fight creative blocks. In the past I forced myself to keep produc- ing, but I was usually unhappy with the results. Now I give myself time to rest and take breaks without guilt. I find that ideas usually come back on their own when I stop putting too much pressure on myself. Reading or looking back at past works can also spark something new. But most of all, I try to trust the process. Tough times are part of being a creative, and rest is often the best way to move forward. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I have been lucky to have gallery rep- resentation as soon as I graduated, so I have a sense of who my audience is and how my work is received. At times this can limit me, as I take less risks. With this exhibition, Reflections on Por- celain, I decided to give myself more free- dom. I wanted to go further, take risks, and enjoy the process. For me, the right balance comes from trusting my instincts while still being aware of the people who will experience the work. 6.How do you approach a new project? Do you have a specific process or routine you follow? I usually start with big mood boards, gath- ering images, textures, and materials that catch my attention. I do not see porcelain as separate from other materials, so I often look at things like fabrics, metal, or even architecture to spark ideas. From there I sketch, then move into dig- ital modelling, and finally start testing in porcelain. The process is always flexible. Sometimes a design works right away, other times it collapses and I have to start again. I have learned to accept that as part of the process. Porcelain has a mind of its own, so I always leave space for chance. 7. Can you let us in on some of the future projects, works? The biggest project I am working on right now is my solo exhibition Reflections on Porcelain, which will be held at the Malta Society of Arts from 25 September to 23 October 2025. It will be the first time showing my work on this scale, and it feels very personal to me. The exhibition will unfold across five rooms, each exploring a theme connect- ed to porcelain: Memory, awe, obsession, fragility, and transcendence. Together they trace my journey with the material, from the porcelain pieces I first noticed in my grandmother's cabinet to the larger installations I am creating today. I am really looking forward to sharing this in Malta. After the exhibition, I hope to keep experimenting, especially through collaborations that allow me to push porcelain into new directions. maltatoday | SUNDAY • 21 SEPTEMBER 2025 THEATRE Shirts off, curtain up: MADC goes The Full Monty PAGE 2 SCIENCE Esplora launches its education programme for the scholastic year 2025–2026 PAGE 3 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A NICO CONTI 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? Two figures have been a big inspira- tion for me, and I was lucky enough to meet them both in person. Edmund de Waal has influenced me a lot, es- pecially through his book The White Road. His writing about porcelain, its history, and its obsessive pull connects closely to my own fascina- tion with the material. He shows how porcelain is not only a material, but also a personal and cultural story. The other is Magdalene Odundo, who makes the most beautiful ceramic objects. Her vessels are raw and pure but also timeless. What I take from both of them is not so much inspiration for the actual forms I make, but a way of thinking. From de Waal I carry this sense of reflective obsession, and from Odun- do I carry the value of purity in both material and form. Nico Conti is a Maltese artist whose work blends traditional porcelain with digital 3D printing. A graduate of the Royal College of Art in London, he recently relocated his studio back to Malta. His sculptural forms explore memory, architecture, and heritage, combining fragility with strength while reflecting on care, resilience, and transformation. MaltaToday is supported by Arts Council Malta