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1. What's been the most defining mo- ment in your career so far The most defining moment of my career didn't happen in a studio or behind a lens. It occurred in the stillness of a hospital bed. For years, I loved taking pictures, but I'll admit my work was purely amateur, consisting of fleeting snapshots without much depth. That changed suddenly when a severe back injury left me unable to walk for 12 long weeks. Stripped of my mobility, I had to slow down and truly see the world I had been rushing through. The first thing I did once I regained my footing was invest in a professional camera and a high-quality lens. This wasn't just a purchase; it was a commitment to a new way of seeing. During my recovery, my perspective shifted from simply documenting reality to interpreting it. I began experimenting with more artistic and conceptual photography, discovering beauty in the details I had previously overlooked. That time of forced immobility became the spark for my professional growth. Now, with my third solo exhibition currently on view, I see that injury not as a setback, but as a painful yet necessary turning point that transformed a hobby into a calling. 2. As an artist, how do you navigate the world and speed of social media? Navigating social media as an artist used to feel like a race I was always losing. At first, I was fixated on the idea of success. I constantly refreshed my feed to check likes, counted followers, and worried that an algorithm change would bury my work. It felt less like a gallery and more like a chore. Over time, my mindset changed. I realised that following trends is draining and often stifles real creativity. Now, I simply enjoy the experience. I see social media as a flexible tool instead of a strict master. Some days, it's a classroom where I learn new techniques from masters around the world, other days, it's just a place to unwind and find inspira- tion in the fun side of the creative communi- ty. Most importantly, I've come to see it as a bridge. It is an amazing platform for sharing my progress and, more importantly, for meeting peers I wouldn't have encountered otherwise. It's no longer about the num- bers for me, it's about the connections. By prioritising community over competition, I've discovered that social media isn't a distrac- tion from my art, it's a way to keep it alive and growing in a fast-paced world. 3. Do you consider artificial intelligence a threat to your career, or an opportu- nity? When AI first started making an impact in the creative world, I admit it felt like a huge threat. Seeing images created in seconds that used to take us days or weeks was intim- idating. It seemed like the human aspect of art was being pushed aside by an algorithm that didn't need to sleep or eat. However, my view has changed. As our feeds fill up with AI-generated content, I think people are starting to crave the opposite. There is a growing tiredness with 'perfection'. We are beginning to miss reality, the raw, unrefined, and real connection that only a human can provide. That's where the real chance lies. AI can imitate styles, but it completely lacks the depth of human emotion. It doesn't have a backstory; it hasn't spent 12 weeks in a hospital bed learning to see the world differ- ently. My work is driven by my life experi- ences, and that soul is something a machine simply cannot duplicate. Instead of taking our place, I believe AI is showing the value of being genuine. It's pushing me to embrace my own humanity even more, because that's what people are truly seeking right now. 4. How do you stay motivated and in- spired, especially during tough times or when the work feels hard? Staying motivated when things get heavy isn't about being happy every day; it's about having the grit to keep moving when the spark fades. To stay on track, I rely on two main strategies: Building strength through struggle and keeping the end goal in sight. The quote "tough times create tough men" is a mantra I live by. It reminds me that dis- comfort has a specific purpose. When a task feels impossible, I try to see it as a forge. Just like iron is hardened by heat, our character is built by doing things that are difficult. Instead of wishing the work was easier, I remind myself that the struggle is exactly what makes me more capable. Every hard day is just a training session for the person I want to become. However, it is easy to get lost in the stress of small details. When that happens, the best option is to step back and look at the bigger picture. I stop focusing on the 'broken brick' in front of me and look at the 'cathedral' I am trying to build. I ask myself if this current frustration will actually matter in a year. By zooming out, the immediate pressure feels smaller, and I remember why I started. This balance of grit and perspective keeps me moving. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? Balancing my creative instincts with the ex- pectations of others is a constant tug-of-war. I am naturally drawn to experimentation; I love trying new things, playing with different techniques, and pushing my boundaries. But as an artist, there is always that quiet pres- sure to deliver what people already know and love about your work. I've learned that the first step is simply giving myself the room to play without any outside voices. Once I've created something new, the real challenge begins—finding the courage to show it. It's vulnerable to put a new style or a risky concept out there when you aren't sure how it will be received. However, I've realised that growth only happens when I step outside of my comfort zone. I try my best not to carry the weight of expectations into my studio. If I start a project wondering what a collaborator will think or what an audience wants to see, the work loses its spark. I don't like putting expectations on my art before it's even finished. Instead, I focus on being honest with my own vision first. I've found that when I stay true to my instincts, the right audience connects with that authenticity, even if it wasn't what they originally expected. 6. How do you approach a new project? Do you have a specific process or routine you follow? When approaching a new project, my process is less about rigid structure and more about a fluid, tactile evolution of ideas. I typically begin in a state of creative play. When concepts are still vague or unformed, I dive into low-stakes experimentation, ma- nipulating photos and testing visual theories without the pressure of a final result. This sketching phase is crucial; it allows the work to speak back to me before I've committed to a specific direction. Once a particular aesthetic or narrative thread begins to emerge, that 'aha' moment where the vision crystallises, my energy shifts. I move from broad exploration into a dedicated focus, honing in on the elements that resonate most. A defining ritual in my workflow is the transition from screen to surface. I always print my photos during the process. There is an irreplaceable sensory shift that happens when I hold a physical image; it transforms the work from data into an object. In my studio, I surround myself with these prints, pinning them up to see how they interact. This physical dialogue between images helps me identify gaps and strengths, fuelling further experimentation until the project feels complete. For me, seeing the work live in my physical space is the only way to truly understand its soul. 7. an you let us in on some of the future projects and works? Looking ahead, my creative trajectory is shifting toward a more intimate and per- manent medium. While I find the energy of a live exhibition incredibly rewarding, my primary focus for the near future is the transi- tion into long-form publishing. I am currently channelling my energy into developing a series of books that allow for a deeper, more tactile exploration of my imagery than a gallery wall can provide. For those who have visited my current exhibition, the seeds of these future works have already been planted. I've intentionally tucked away a few visual hints and motifs within the current collection, small breadcrumbs that signal the aesthetic direction I'm heading. These frag- ments serve as a bridge between my present work and the more expansive narratives I'm building for the page. While the format is evolving, the core of my inspiration remains constant—the human form. I find the body to be an inexhaustible landscape of emotion and architecture. Whether through abstract crops or full-figure studies, my upcoming projects will continue to investigate the nuances of our physical presence. My goal is to capture the human silhouette in ways that feel both familiar and entirely new, preserv- ing that raw connection within the bound pages of my upcoming series. maltatoday | SUNDAY • 26 APRIL 2026 Culture Cairo-premiered Maltese feature film Zafzifa opens in local cinemas ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A ANDREW E. ZARB 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? My artistic DNA is deeply rooted in the legacies of two masters: Edward Weston and Helmut Newton. While their styles differ significantly, their combined influence provides the foundation for how I perceive and capture the world around me. He shaped my commitment to the tonal richness and the sculptural quality of black-and-white photography. In contrast, Helmut Newton introduced me to the power of narrative, artifice, and the heroic silhouette. His work challenged me to embrace a bolder, more provocative approach to por- traiture. From Newton, I absorbed the importance of staging and intention- ality, learning how to use the human form as a vehicle for strength and subversion. By blending Weston's organic purity with Newton's sharp, cinematic edge, I have developed a style that celebrates the body as both a natural wonder and a powerful, modern icon. Andrew E. Zarb is a self- taught photographer who approaches the medium as a passion and a pursuit, constantly waiting for and seeking the right moment. His third solo exhibition, titled Memoirs of an Armchair, is on at il-Kamra ta' Fuq, until 26 April Theatre Amélie – The Musical is coming to Teatru Manoel this May PAGE 2 PAGE 3 MaltaToday is supported by Arts Council Malta