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9 maltatoday | WEDNESDAY • 28 JANUARY 2026 CULTURE LAWRENCE Buttigieg's latest exhibition at Spazju Kreattiv, Desire & Its Excess, offers a mul- ti-layered investigation into the nature of desire and the forms of creativity it provokes. Through a diverse body of work that includes painting, assemblage, sculptural fragments and film, the artist re- flects on how desire is produced through relationships with others, especially within the intimate and psychologically charged environ- ment of the studio. Central to Buttigieg's practice is an ongoing engagement with representations of femininity. He has long been preoccupied with the dynamics between artist and model, and the ethical and emo- tional dimensions of that encoun- ter. At the core of this exhibition lies a sustained collaboration with his long-term model, Cesca, whose presence has shaped his work for over a decade. Working with the same subject over such an extended period has allowed Buttigieg to approach repetition not as stagnation but as transformation. Each meeting be- comes an opportunity to perceive difference within familiarity, to re- discover the body through subtle shifts in gesture, expression and time. Rather than seeking variety through multiple sitters, his in- terest lies in uncovering countless variations within a single person. The act of looking itself becomes a key theme throughout the exhi- bition. Buttigieg emphasises the reciprocity of the gaze between himself and his model, rejecting voyeurism in favour of mutual awareness and consent. In some works, mirrors are used not for self-reflection but to redirect at- tention back toward the artist, reinforcing the idea of a shared visual space that ultimately ex- tends to the viewer. Technically, Buttigieg's paint- ings are characterised by trans- lucent layers of oil applied over gesso or plaster, allowing earlier surfaces to remain visible. This method produces a sense of depth and luminosity, enhancing the physical presence of the figures while maintaining a tactile, almost fragile quality. The imagery is of- ten explicit, yet rendered with a sensitivity that foregrounds vital- ity rather than idealisation. Alongside the paintings are pre- paratory drawings and plaster casts taken directly from the body. These fragments challenge tradi- tional ways in which female forms have been represented in Western art history. By presenting exact physical impressions rather than stylised interpretations, Buttigieg resists objectification and instead invites a reconsideration of how bodies are seen, preserved and in- terpreted. Some of these casts are displayed independently, while others are incorporated into box assemblages filled with personal items and found materials. These works explore themes of identity, memory and alterity, suggesting that the body exists not only as physical matter but also as a site of meaning and belief. Spirituality plays a subtle but significant role in Desire & Its Ex- cess. Drawing on philosophical thought, particularly the writings of Luce Irigaray, Buttigieg engages with ideas that associate the fem- inine with transcendence and the sacred. His assemblages resemble reliquaries or devotional objects, echoing religious traditions in which bodily fragments are be- lieved to carry traces of the soul. Although made from plaster, the casts often retain minute traces of the living body, blurring the line between representation and relic. In recent years, Buttigieg has al- so expanded his practice into film, discovering strong parallels be- tween cinematic composition and his visual work. The final room of the exhibition brings these el- ements together in a film that synthesises the conceptual and aesthetic concerns of the project. Set partly on the Maltese coastline and partly in the studio, the film follows Cesca as she performs acts of self-representation, including casting her own body and engag- ing directly with the assemblages, shifting agency away from the art- ist and toward the subject herself. Ultimately, Desire & Its Excess positions desire as a fundamental yet elusive aspect of human ex- perience. Buttigieg presents it as something that is never fully at- tainable, shaped by imagination, fantasy and difference. Through his layered visual language, the ex- hibition invites viewers to reflect not only on desire as depicted, but on their own forms of longing and projection. Desire & Its Excess is curated by Gloria Lauri-Lucente. It runs till 1st March 2026. Desire & Its Excess by Lawrence Buttiegeg Call for papers for the 3rd edition of the Malta Cultural Annual THE Culture Directorate is issu- ing a call for papers for the third edition of The Malta Cultural An- nual. The Annual aims to create a library of research on various aspects related to culture in Mal- ta, present and past. Aside from traditional themes related to her- itage and the arts, the publication is also intended to foster research in language, communities, sub- cultures, traditions, and technolo- gies. The publication will contain original peer-reviewed research papers in Maltese or English covering different themes. The second issue will be published in May 2026. The Editorial Board is inviting abstract submissions of not more than 300 words. Prospective au- thors are also requested to submit a short biographical note of not more than 150 words. Abstracts and biographical notes are to be submitted by 16th February 2026 to culture@gov. mt. If the abstract is deemed to fall within the scope of the publica- tion, the contributor will be no- tified to submit the paper of not more than 7,000 words including footnotes, but excluding referenc- es. The paper should follow The Chicago Manual of Style. Papers would need to be submitted by 15th June 2026. The Editorial Board members are: Dr Nikki Petroni (editor), Prof. John P. Portelli, Dr Da- vid Alosio, Prof. Lino Bianco, Prof. Joanne Cassar, and Dr Karl Fiorini. To assist the Editorial Board in the double-blind review process, the Directorate has appointed an advisory board of local and inter- national experts.