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1. What's been the most defining moment in your career so far? The most defining change in my career didn't come from a particular exhibition or achievement, but from a change in my own inner state. I have always been curious and often challenged things. Eventually, I started questioning why I felt certain ways so strong- ly, where my insecurities came from, and why particular experiences triggered me. Understanding that many of those feelings were rooted in childhood beliefs allowed me to face them and eventually let go. I realised that, just as I can create something from a blank canvas, I can also take responsibility for creating the life I want. I became less of the scared, insecure artist constantly questioning herself and more willing to trust my instincts and follow my passion for art and design. In the simplest terms, if I once created from pain, today I create from a place of peace, passion and love, as cheesy as that may sound. And I think that has been far more defining than any single profession- al milestone. 2. As an artist, how do you navigate the world and speed of social media? I try to remind myself that social media is a tool. It is a great way to show your work and connect with people you might never meet otherwise, but it can never replace in-per- son human connection or your own sense of who you are as an artist. Trends move incredibly fast, and there was a point when that confused me. I was questioning where I belonged in all of it. Constantly trying to catch up with trends can easily take you fur- ther away from what makes your work yours. When I question whether an idea or project is really aligned with my values, I ask myself something very simple: If nobody ever saw this work, would I still create it this way and with the same passion? That usually gives me my answer. I still pay attention to how the market and so- cial media are changing. There's no denying that they affect the art world. But I don't let them dictate what I create. I trust my gut, my own thought process and the values behind my work. I believe staying true to yourself, and genuine passion for what you do are what keep an artist's work truly their own. 3. Do you consider artificial intelligence a threat to your career, or an opportunity? Perhaps it is a very simple example, but I think of AI like travelling from point A to point B. You can walk or you can drive a car - you will get there either way, but the car can get you there faster. At the same time, you need to learn how to drive it, otherwise it isn't very useful. I see artificial intelligence in a similar way. We need to learn how to use these tools wisely and understand where they can actually help us. In my case, if AI can save me time and energy on paperwork or other time-consuming tasks, that gives me more time to focus on the creative process. When it comes to the artwork itself, however, I value spending time with a work, noticing the smallest details, physically handling ma- terials and feeling their surfaces. For me, it is those very human experiences, imperfec- tions, and the time spent with the work that give it its value. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? For me, taking one simple, immediate action is the best way to get out of overthinking and procrastination. I have made it a goal to draw, doodle, paint or sketch something every day. It doesn't have to be important or lead anywhere, but it keeps creativity active even when everyday responsibilities take over. I also write down ideas regular- ly. Something that means very little today might become the beginning of a project months later. During more difficult times, I have developed a strong belief in asking myself: What is this situation trying to teach me? It doesn't make a painful experience less painful, but it helps me look at it from a different perspective. Nature is also where I go to reset. For me, motivation isn't always about feeling inspired; sometimes it is simply about doing one small thing, changing your perspective and allowing the inspiration to catch up with you. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I love experimenting with materials, trying unfamiliar approaches and stepping outside my comfort zone. I think that is an important part of growing creatively, so I am very open to other people's ideas and perspectives. What I don't compromise on are the values behind what I do. With collaborations, I need to feel that there is some alignment between the people involved. I don't mean that we think or create in the same way, but that there is mutual respect for each other's ideas, values and communication. In fact, I often find that very different creative approaches can produce the most interest- ing results when that foundation is there. The same applies to commissions. I do take on commissioned work, but I have learned to set boundaries and not say yes to every project. Being technically able to execute something doesn't necessarily mean I am the right artist for it. Through conversations with a client, you can usually sense whether there is an understanding of your work and enough trust to allow you to bring something of yourself into the project. I listen, observe and pay attention to how people respond to my work, but I don't create specifically to satisfy an expectation. Ultimately, my gut feeling is my compass. I would rather take a creative risk that feels true to me than create something simply because I think it is what people want to see. 6. How do you approach a new project? Do you have a specific process or routine you Follow? It depends very much on the project. With an open call, for example, I first study the requirements and consider whether the concept and values align with my own. Other projects seem to arrive at exactly the right time and develop very naturally. Over the years, I have learned not to simply wait for the right opportunities to arrive, but to create them myself. When it comes to the artwork, most pieces begin with an idea or a sketch. Sometimes I start with a blank canvas; other times I find an old frame or material that immediately fits the vision and becomes part of the starting point. I usually have a feeling and a general colour direction in mind, but I don't plan every detail before I begin. A large part of my process is improvisation and intuition. With acrylics, I build the work gradually through layers, experimenting with the consistency of the paint, textures and different materials, allowing decisions to happen as the piece develops. I particularly enjoy combining abstraction with realistic el- ements. The realistic details give the viewer something familiar to connect with, while the abstract parts leave more space for thought and imagination. I think that balance also reflects the way I work. I need direction, but I don't necessarily want to know where exactly I will end up. 7. Can you let us in on some of the future projects, works? At the moment, together with Zeltite Upeniece from Latvia and Francesca Puglisi from Sicily, I am preparing for our collective exhibition, Reflections Through Time, at the Malta Society of Arts in Valletta from 9 to 23 October 2026. The exhibition brings together our three very different practices around ideas of time, perception and human connection. Alongside this, I am completing my first book, which explores my creative process, personal experiences and the shift in mindset that changed the way I approach both my art and my life. The book launch, together with a new solo exhibition, is part of a separate project I am developing for 2027. Creativity is my fuel, so I rarely stop with one project. I often think of it as planting seeds. Some ideas grow quickly, while others may take a while before the right moment arrives. I am constantly evolving, experimenting and creating new opportunities. For me, they are all part of a path that keeps developing, and I am genuinely excited about what is still to come. maltatoday | SUNDAY • 30 AUGUST 2026 Theatre Hobzna ta' Kuljum: Survival, womanhood and the search for independence ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A INESE REFALO 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? My biggest influence is actually my curiosity. I love observing things— nature, people and the way they interact. Sometimes it can be a silly movement, an ordinary object, a sarcastic comment or something I read between the lines that triggers a thought or a question. In the past, I've found myself stopping in front of Gaudí's archi- tecture or Dalí's paintings. It doesn't necessarily mean their visual style has influenced my own work. What made me stop and think was the freedom to be different and to fol- low your own way of thinking. Originally from Latvia, Inese Refalo is a contemporary artist and interior designer who has been based in Malta for the past 15 years. Working across acrylic, lino printing and mixed media, combining abstraction with realistic elements, she approaches each artwork as a story to tell, drawing inspiration from personal experiences, observations and nature. Her practice also incorporates upcycled materials, giving existing objects a new purpose within the story of the work. Art One image. Many visions: So many different ways of seeing PAGE 2 PAGE 3 MaltaToday is supported by Arts Council Malta