Issue link: https://maltatoday.uberflip.com/i/1543797
1. What's been the most defining moment in your career so far? It is difficult to point to a single defin- ing moment. My career feels more like a continuous and natural progression. Everything I have done over the past two or three decades has gradually led me to where I am today. What may appear to be sudden opportunities often turn out to be the result of a conversation, a meeting, or an encounter that happened years earlier. Connections resurface and new projects grow from them in unexpected ways. I have learned that the most important thing is to remain open and curious. When you are willing to explore, new adventures tend to present themselves. 2. As an artist, how do you navigate the world and speed of social media? I do not actively engage with it beyond the essentials. I maintain a presence simply to keep those who follow my work informed about exhibitions and event dates. I am aware that this view may not be popular, but I feel that digital platforms often miss the essence of fine art. Nothing can replace the experience of standing in front of a painting and responding to it in person. The emotional resonance, the physical presence of the work, and the subtle details are diminished on a screen. I also find it ironic that these platforms are called social media. In many ways, they feel anything but social. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? Not in the realm of fine art. At its core, fine art is about the physical object and the emotional relationship it forms with the collector. My work is not a mass-pro- duced product. It only takes one person to connect with a painting and decide to live with it for it to fulfil its purpose. A painting is a singular object, a one-off. Art has no practical function beyond the human experience it creates, and that is precisely what technology cannot replicate. I do feel concern for commercial artists, as their industries are more directly affected. However, I suspect that true innovation will always require human creativity, and that many fields will eventually return to valuing that originality. 4. How do you stay motivated and in- spired, especially during tough times or when the work feels hard? Over the years, I have filled countless sketchbooks with ideas for future work. In- spiration comes from everywhere, from per- sonal experiences to books, films, music, and other sources. When it is time to begin a new body of work, I do not have to force myself to invent ideas on the spot. Instead, I revisit my notes and reflections, and see what still resonates and feels relevant. The other crucial aspect is simply showing up to the studio. Discipline matters. If the work feels particularly difficult, it is fine to step away briefly for a day or two, as long as that pause does not become avoidance. Ultimately, I remind myself that there is nothing I would rather do than paint. That alone is often enough to keep me going. 5. How do you balance your creative instincts with the expectations of your audi- ence or collaborators? I left the advertising world precisely be- cause I no longer wanted to work according to someone else's agenda. My focus now is on pursuing my own vision and exploring the ideas that genuinely interest me. The audience tends to shift from project to pro- ject, adapting to the direction I take, rather than the other way around. This approach also applies to the occasion- al commissions I accept. A client's brief serves as an initial spark, but the resulting work is filtered entirely through my per- spective. I make that clear from the outset. The integrity of the vision is what ultimately gives the work its strength. 6. How do you approach a new project? Do you have a specific process or routine you follow? For many years I have used sketchbooks almost as visual journals. They are where I record ideas as they come to me. Some- times this takes the form of quick thumbnail sketches drawn from imagination, simply to capture an image before it fades. At other times it might be a note about a colour palette, a short passage from a book that evokes a strong visual impression, or even a reference to a piece of music. Personal experiences and memories often find their way onto those pages as well. Over time these sketchbooks become a kind of archive of thoughts and impressions. When the moment arrives to begin a new painting or to develop an entirely new body of work, I return to them and start brows- ing through the material I have collected. Certain ideas will suddenly stand out or feel particularly relevant at that point in time. Those moments of recognition usually pro- vide the initial spark that sets a new project in motion. 7. Can you let us in on some of the future projects, works? I am currently involved in an exciting project connected to a television art doc- umentary. Unfortunately, I cannot share many details yet, as it remains confidential. It will keep me fully occupied over the next few months. After that, I plan to take a short break, as I have been working contin- uously for the past six months without interruption. Once I have had the chance to recharge, I look forward to returning to the studio to begin developing my next body of work. maltatoday | SUNDAY • 8 MARCH 2026 Art Nicole Debono exhibition to open at the Malta Society of Arts ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A LUCA INDRACCOLO 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? That is a challenging question, as there are so many influences that have shaped my practice. I could name numerous 19th century artists, from Gustav Klimt to Pablo Picasso, as well as Mariano Fortuny and Antonio Mancini. The list is extensive. Luca Indraccolo is an Italian-born artist known for his skilful and realistic oil paintings. He specialises in figurative and narrative art. After working for 15 years as an art director for major advertising companies in different countries, Luca made the choice to pursue a fine arts career as a painter. His paintings have been exhibited in various galleries and art fairs internationally, including the United Kingdom, the United States and Malta Culture Aerial landscapes by photographer Daria Troitskaia open at The Grist MaltaToday is supported by Arts Council Malta PAGE 2 PAGE 3