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1. What's been the most defining mo- ment in your career so far? I think the most defining moment was when I realised that architecture in my drawings had become more personal rather than simply observational. Ever since I was young, I was naturally drawn towards repetition, structure, and ornament. I loved seeing shapes slowly build into imagined spaces. Over time, I realised I wasn't only drawing build- ings, but using architecture as a way of expressing myself. That was probably the moment I under- stood drawing was something very nat- ural to me and something that I wanted to keep pursuing. 2. As an artist, how do you navigate the world and speed of social media? Personally, I use social media as a way to document my work, while trying not to let its constant pace affect my crea- tive process. My drawings are very intricate and detailed, and need a lot of time to complete. I feel they naturally don't fit the fast pace of social media. I'm less interested in trying to get a big follow- ing and more interested in building a niche audience that connects with the work over time. I also think drawings are appreciated much better in person. Seeing the scale, detail, and physical presence of a piece is completely different from seeing it through a screen. 3. Do you consider artificial intelli- gence a threat to your career, or an opportunity? I think AI has become part of the crea- tive world, and I understand its use- fulness in certain areas. But in my own work, I still believe there is something very valuable about human presence within a drawing, which gives a lot more value to human work over AI. My process is delicate and hands-on. Some drawings take months to finish, and I think that time becomes part of the work itself. You notice imperfections that could only come through a human process. Even though my drawings are often controlled and detailed, I still appreci- ate imperfections in it. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? What keeps me motivated is mostly the process rather than the final result. Drawing has become something very natural for me, and is a way I deal with the stress and anxiety of life. I still experience doubt quite often, especially at the beginning of a piece, but I've learned that disci- pline usually carries me further than inspiration. Once I begin working, the uncertainty slowly fades. Drawing also helps me clear my mind. There's something calming about slow- ly building these spaces through repetition, detail, and ornament. Even during busy periods when I stop drawing for a few days, I still find myself sketching structures on random pieces of paper without realising it. I think architecture naturally keeps pulling me back towards it. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I think every artist is influenced by the world around them, but I try to stay connected to what genuinely interests me rather than forc- ing myself towards trends or expecta- tions. My drawings usu- ally begin from a very personal and instinctive place, so even while the work evolves, I still want it to feel genuine to me. I think the chal- lenge is allowing your work to grow naturally without losing what drew you towards it in the first place. I make these pieces as self expression and to translate my thoughts onto paper, so when I showcase them I am focusing on drawing people into my world rather than creating them based on expectations. 6. How do you approach a new pro- ject? Do you have a specific process or routine you follow? Emotion and my mental space in that moment plays a big role in how I approach a draw- ing. Since some works take months to complete, I find it interesting how different states of mind slowly become part of the same piece over time. I like creating spaces that feel slightly unreal but somewhat familiar. Most ideas appear unexpectedly, especially while travelling or driving. I usual- ly sketch quick drawings or notes because I'm afraid the feeling of the idea might disappear. I also constantly photograph details, textures, and spaces that stay with me and eventually influence the work naturally. 7. Can you let us in on some of the future projects, works? I'd like to continue expanding the scale of the work and experimenting with materials beyond paper while still keeping drawing as the foundation of my practice. At the moment, I'm interested in seeing how my work can evolve through different materials and forms while still staying connected to drawing. maltatoday | SUNDAY • 24 MAY 2026 Culture National Pavilion of Armenia at Malta Biennale 2026 ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A GLENN ELLUL 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? When I was younger, one of my teachers at school knew I was al- ways interested in art, as I used to spend breaks in his art room going through his books. One day he showed me works by M. C. Escher, and I remember being completely mesmerised by them. It was one of those moments where I realised art could exist in so many different forms and ways of thinking. Looking back, I think it opened my mind creatively and encouraged me to express myself more freely through drawing. Glenn Ellul is a Maltese artist whose highly detailed ink drawings construct imagined spaces suspended between reality and imagination. His distinctive visual language merges intricate structures, symbolism, and personal reflection into immersive architectural compositions. His second solo exhibition, titled Architopia: Echoes of Elsewhere, will be held at il-Kamra ta' Fuq, in June. Culture Spanish-Maltese artist Elena De Gabriele presents Telf, an art exhibition in València PAGE 2 PAGE 3 MaltaToday is supported by Arts Council Malta