Issue link: https://maltatoday.uberflip.com/i/1545896
1. What's been the most defining moment in your career so far? The defining moment must have been when I decided to end my career as a school prin- cipal and focus exclusively on art. I had been working in the education sector for 20 years while art brewed on the back burner, until the day I realised that waiting until "I was older" to prioritise my artistic career was no longer an option. I cannot say that it was an easy transition, even though I knew it was the right one. I had to start almost from scratch. I returned to uni- versity to continue my studies in art, allowing creation to take the central role it deserved. Moving from a stable full-time profession to life as a freelance artist was not an easy deci- sion, but thankfully, I have no regrets. I loved, and still love, working with children, but perhaps, fuelled by a midlife crisis, my desire to create had a louder voice, and I followed it. 2. As a creative, how do you navigate the world and speed of social media? I think this is one of the toughest things on my to-do list. I am not a fan of social media, but I am very much aware that, in order to keep a strong following and clientele, I need to be present online. I don't keep strict rules about how or how often I share my work, and I tend to focus on two social media platforms more than the oth- ers. I also have my website, which I curate and keep updated. I think it portrays who I am and what I do clearly, without any frills or bling. Social media, however, is where most people discover, follow and contact you. I try to keep my online presence as professional as possible, limiting posts about my personal life and focusing instead on my work and related projects. After all, it's my work that should do the talking. I know I should be more disciplined about maintaining my online presence, but creating will always take precedence. I find it difficult to interrupt the creative process simply to update my socials, and I still haven't found a way around that. Posting for the sake of stay- ing visible has never felt right to me. In the end, I believe that the right people will always find their way to my work. So, when it comes to choosing, I give more weight to creating than to keeping my social media updated on a daily basis. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? First things first: The use of artificial intelli- gence significantly impacts the environment through massive demands on energy, water and mineral resources. AI was introduced to the public as a very appealing, fun, and clever tool. Many people use it to pass the time, creating images and content simply for entertainment, often unaware of the environmental impact. There are hardly any warnings about AI's effect on the environment or the ways in which it can negatively affect our cognitive abilities. While AI can certainly boost productivity, overreliance on it can contribute to the atrophy of critical thinking, memory retention and problem-solving skills. Research suggests that frequent reliance on AI encourages cognitive offloading, which may weaken memory, independent problem-solving and critical thinking, diminish creative capacity, contribute to mental fatigue, and increase the risk of depressive symptoms. Just as we issue warnings about the damage caused by smok- ing and alcohol abuse, I believe we should also be warning people about these environ- mental and cognitive consequences. On a personal note, however, I do not con- sider AI to be a threat to my career because I know that nothing can replace the authentic human element in art. Art can be copied and imitated, but the human spirit behind it cannot. I believe that is what people who truly appreciate art are seeking, not simply the aesthetics of the work. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? My energy comes from constantly challeng- ing assumptions, my natural curiosity, and the playful way in which I try to approach challenges with a sense of humour and adapt- ability. I love the right dose of spontaneity and enjoy taking risks, impromptu experiences, silly actions, and creative expression without being strictly bound by rigid rules or norms. I have an unquenchable thirst for learning and am always ready to try new things and embrace new adventures. I try to balance spending time indoors, alone with myself, with time exploring the outside world. I also make time for people with whom I am com- fortable discussing ideas and learning, as well as simply sharing silence. I also only accept work that aligns with my purpose, allows me to express myself as honestly as possible, and offers some sort of challenge, so that it intrigues me and prompts me to grow. None of this makes the work any easier. But it does make it more interesting and fulfilling. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I do not create to please anyone. I value truth- fulness and growth, and they only happen when you prioritise your own artistic vision. Trying to fulfil the expectations of galleries or the public only corrupts your vibe. I do experience moments when the little devil on my left shoulder starts whispering that what I am working on is too ambitious, that I am not going to make ends meet, or that I will never cross the ocean that sometimes separates research and practice. But I have been blessed with a very stubborn head, and I keep my focus on my instincts. So far, it has always worked. When it comes to collaborations, I look for a shared vision and a willingness to com- promise. The right collaborator would never interfere with your artistic autonomy. 6. How do you approach a new project? Do you have a specific process or routine you follow? There isn't much of a routine in anything I do. Every project and every day is unique. Even my working hours are not conventional or fixed. I may start working at 10pm and continue through the night and well into the next day. Sometimes, I start with a title, or with an inspi- ration, perhaps a song, an idea, an image, a face, or some new material that I come across. Anything can trigger a new project. Most projects require research. Some don't. I embrace mistakes. I question. I usually work on different projects at the same time, and sometimes I let work sit for a week or two, or more before revisiting it with a fresh perspec- tive. Sometimes I use music as though it were the work's soundtrack. Other times I let it form and seep in silence. It all depends on how the work and I communicate and come together. 7. Can you let us in on some of your future projects or works? There is a witty pocket poetry book that I have been working on with Pierre Portelli, which should come out by the end of this summer. The idea behind it is very simple—it's about faces; what they reveal and what they conceal. It is a book that needs to be read on different levels. It plays with the idea that we often feel we can read people's faces and know who they are or what they are going through. By juxtaposing the outside and the inside on op- posing pages (Portelli's work and mine), each character faces the reader and invites them to think and do the reading (pun intended). I am also finishing a sculpture that will be shown in a collective exhibition at the end of August in Ta' Qali. I have been working on this piece very slowly and meticulously. It is an unusual combination of very different skills and materials, and I am loving the way it is coming together. So I'm savouring the time I have working with her. maltatoday | SUNDAY • 19 JULY 2026 Art Art works by Jeni Caruana ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A ETIENNE FARRELL 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? Where to start! When it comes to the overall inspiration behind my art, Surre- alism is definitely my main go-to style. In my opinion, it strikes the perfect balance between creativity and technique. By technique, I mean the level of skill one has in a particular medium. For example, in tattooing, I primarily spe- cialize in fine line work and pointillism. Occasionally, I get projects that require a sketchy or rough finish, which doesn't allow me to showcase my precision with clean, fine lines. On the other hand, surrealism offers the opportunity to be both highly creative and technically skilled at the same time. That balance is something I deeply appreciate. Of course, I'm not here to judge any particular style or technique. As I men- tioned, I've been a tattoo artist for over 10 years now. When it comes to tattooing influences, my biggest inspiration is un- doubtedly the master Matteo Nangeroni. I've followed his work for most of my career, and I have to say he remains my greatest influence to date. He exempli- fies that perfect mix of technique and creativity that I admire so much. I hope that one day, I can also inspire young artists the way he has inspired me. Contemporary visual artist whose practice focuses on the interpretation of emotive and socially engaged themes, often inviting reflection, dialogue, and participation. She works across gallery-based and site- specific contexts. Her work spans painting, sculpture, installation, interactive art for social change, and photography Theatre Malta-first production of Jean Genet's The Maids to open at Theatre Next Door PAGE 2 PAGE 3 MaltaToday is supported by Arts Council Malta