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1. What's been the most defining moment in your career so far? The most defining moment in my career was when I began planning my first solo exhibi- tion, Paradoxum, held at il-Kamra ta' Fuq in Mqabba. It was a period filled with both ex- citement and uncertainty. I had many doubts and insecurity. I was questioning whether my work would be accepted, understood, or appreciated. Everything began to shift once I found the theme I wanted to explore. From that point on, things became clearer and more intuitive. As I started working, it almost felt as though the sculptures themselves were guiding me towards their final form. That process made me realise that mastery is not about control, but about entering into a conversation with the medium, which in my case is metal. Also, one should allow the work the time and space it needs to evolve. One of the most rewarding aspects of that experience was seeing how visitors connected with the sculptures. Each piece embodied a particular state of mind, and it was striking to witness how people found themselves reflected in the work. Almost everyone could relate to at least one piece, often in a way that mirrored how they were feeling in that very moment. 2. As an artist, how do you navigate the world and the speed of social media? In a fast-paced world, the internet and social media are incredibly useful tools. They help me stay updated with what's happening in the art scene, as well as what's going on around me more broadly. I often turn to the internet as a starting point for research and inspira- tion. When I am working on something new, I generally don't share it on social media, until it's time to exhibit it. At the same time, we live in an age where, if you don't have a presence on social media, it can feel as though you barely exist. While these platforms offer important opportunities for exposure and connection, they can also be time-consuming and, at times, distracting. For me, it's about finding a balance. Stepping away from the constant flow of information is essential. Offline time allows for deeper focus, reflection, and a more meaningful engage- ment with the work itself, something that is ultimately at the core of my practice and very related to the topics that I have worked on in my solo exhibitions so far. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? I don't see AI as a threat to my practice. My work is rooted in the creation of three-dimen- sional metal sculptures, processes that rely on physical craftsmanship, material intuition, and hands-on experience. It depends on the re- sistance of steel, the precision of welding, and the unpredictable nature of heat and force, all elements that cannot be fully replicated by algorithms. While AI can generate designs or concepts, it lacks the tactile understanding and emotional connection that come from shaping metal with one's own hands. Rather than competing with what I do, AI for me exists in a completely different realm. The essence of my work lies in the human pro- cess—the sparks, the labour, and the personal imprint left on each piece. It is this authenticity that gives the sculptures their value, which is something that goes beyond digital replication and ensures that the craft remains relevant and distinct in an increasingly automated world. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? Staying motivated while working with metal, especially when things aren't going well, comes down to reconnecting with both my purpose and the process. First, I've learned to accept that difficulty is part of the craft. Metal resists, tools fail, and ideas don't always translate the way you imagine them. Instead of seeing setbacks as failures, I treat them as part of an ongoing dia- logue between myself and the material. Every mistake teaches me something physical and real; something no shortcut can replace. I also try to break the work down into smaller, more manageable steps. When a piece feels overwhelming, I focus on one weld, one curve, or one detail at a time. Even small progress helps rebuild momentum. At times, it's important to step away. Looking at other sculptors' work, revisiting why I started, or simply sketching new ideas without pres- sure can help reset my perspective. Inspiration often returns when you allow space for it. I also keep a record of past works I'm proud of. On more difficult days, that reminder of what I'm capable of can be grounding. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I don't create my sculptures to satisfy audience expectations or follow trends. My work begins with a deep engagement with a subject, an emotion, or an internal question that demands to be expressed through metal. The process is personal, intuitive, and often challenging, shaped by my own perspective rather than external approval. I believe that authenticity is what gives the work its strength. When a piece is honest and fully realised, it carries a presence that people can feel, even if they interpret it in different ways. The audience doesn't need to be consid- ered at every stage, because the connection happens naturally once the work is complete. Each viewer brings their own experiences and emotions to the piece, finding meaning in ways I may not have intended. That relation- ship is organic rather than forced. By staying true to my vision, I create sculptures that are not only expressions of myself, but also open spaces for others to reflect, relate, and discov- er their own interpretations. 6. How do you approach a new project? Do you have a specific process or routine you follow? I approach each project as a journey that be- gins with a thought. An idea or emotion forms the foundation, which I then develop into a clearer theme. From there, I create sketches to guide the direction of the piece, giving struc- ture to what initially exists only in my mind. Once I begin working with the metal, the process becomes more fluid and responsive. The material, the tools, and the physical act of shaping all start to influence the outcome. My thinking often shifts during this stage, and I choose to embrace that change rather than resist it. I might adjust the form, refine details, or even rethink parts of the composition as the work evolves. This flexibility is essential as it allows the sculpture to grow naturally, rather than forcing it into a fixed plan. In the end, the finished piece reflects both the original idea and the transformations that occur throughout the making process. 7. Can you let us in on some of the future projects, works? I have a number of projects in the pipeline, all rooted in ideas I've been developing over time. The main challenge I face is not a lack of inspiration, but time. Metal sculpture demands patience, precision, and physical commitment, and each piece requires the space to evolve properly. As my work progresses, I can see it naturally moving towards larger scales and more com- plex forms. More importantly, it is deepening in its exploration of the human psyche. I find myself increasingly drawn to themes that reflect internal conflict, emotion, and the unseen aspects of human experience. This direction cannot be rushed. The thinking process requires time, focus, and immersion. While time may limit how quickly I produce, it also ensures that each piece carries weight and meaning. I'm not interested in quantity, but in creating work that resonates on a deep- er level and continues to evolve alongside my practice. maltatoday | SUNDAY • 5 APRIL 2026 Culture National Book Council launches subsidy scheme for printed books ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A DAVID CALLEJA 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? My biggest influences come from artists who have challenged percep- tion and redefined form. Salvador Dalí inspires me through his exploration of the subconscious and dreamlike imagery, constantly pushing beyond the limits of reality. Alberto Giacom- etti has shaped my understanding of space and the human figure, par- ticularly in the way he conveys both isolation and presence. Constantin Brâncusi guides my appre- ciation for simplicity and essence, by reducing form to its most fundamental expression. Max Ernst encourag- es experimentation and freedom, especially in texture and technique, while Meret Oppenheim inspires me to challenge conventions and explore symbolism in unexpected ways. Together, these influences shape my approach, allowing me to merge elements of surrealism, abstraction, and emotional depth within my metal sculptures—creating works that exist between inner thought and physical form. David Calleja is a sculptor working primarily in three-dimensional metal. His practice combines traditional blacksmithing methods with contemporary processes, resulting in a distinctive and evolving visual language. His second solo exhibition, Remnants, is currently on view at The Splendid, Strait Street, Valletta Theatre British theatre hit starring BBC Ghosts comedian coming to Malta MaltaToday is supported by Arts Council Malta PAGE 2 PAGE 3 PHOTO: ANDREW E ZARB