Issue link: https://maltatoday.uberflip.com/i/1547312
1.What's been the most defining moment in your career so far? There are two that stand out for me. The first was being commissioned to paint Il Sogno di Guglielmo II (The Dream of William II), an altarpiece for Monreale Cathedral in Sicily. Creating a work for a UNESCO World Heritage Site, surrounded by such an extraordinary artistic heritage, was both a privilege and a great responsibility. It made me reflect on what it means to contribute, in my own small way, to a place that has witnessed centuries of art and history. The second was seeing my painting of Blessed Gerard Sasso, founder of the Order of St John of Jerusalem, find a permanent home at the Magistral Palace in Rome, the headquarters of the Sovereign Military Order of Malta. The painting was acquired by Fra' Francis J. Vassal- lo, who later donated it to Fra' John T. Dunlap, Grand Master of the Order. Having a painting permanently displayed at the headquarters of such a historic institution holds special meaning for me. 2. As a creative, how do you navigate the world and speed of social media? Finding a balance between the time I dedicate to painting and the demands of social media is never easy. Social media can be a significant distraction and, if we're not careful, can inter- fere with the creative process. Painting requires concentration, patience and, above all, time away from constant stimulation. I also recognise how important these platforms have become for artists. They offer a degree of independence that was much harder to achieve in the past, al- lowing us to share our work directly with people without always relying on traditional channels. I mainly use social media to document the development of my paintings, from the early stages to the finished work, and to share exhibitions, events and other aspects of my artistic activity. I find that sharing the creative process helps me build a more genuine connection with people, giving them a closer un- derstanding of the ideas and work behind each painting. Sometimes I deliberately take a step back from social media to concentrate fully on painting. I try to use it as a professional tool rather than something that should occupy my attention throughout the day. I think it's important for artists to use social media without allowing themselves to be controlled by it. Above all, our creative decisions should never depend on the approval we receive online. 3. Do you consider artificial intel- ligence a threat to your career, or an opportunity? I don't consider artificial intelli- gence a threat. I see it as a tool, and I think what matters is how we choose to use it. I was painting long before AI became part of our everyday conversations, and I still approach my work in much the same way. For me, art is a personal journey of growth and exploration. Through painting, I try to understand more about myself, exploring both conscious and unconscious thoughts and expressing something that comes from within. The process itself is very important to me. I work with real models and create my own photographic references. Choosing the poses, studying the light and interacting with the people I photograph are all part of developing a painting. These experiences often influence the original idea in ways I hadn't expected. I wouldn't want to replace that part of my work with AI. This doesn't mean I'm against tech- nology. Photography and digital tools already have a place in my creative process, and I have no objection to new technologies. What mat- ters is that they remain tools rather than taking over the creative decisions. 4. How do you stay motivated and inspired, especially during tough times or when the work feels hard? I don't really believe in the traditional idea of inspiration that has often been associated with artists throughout history. I believe much more in work, practice and discipline. For me, inspi- ration often comes through the act of painting itself. Once I begin working and become fully absorbed in what I'm doing, ideas and images start to emerge naturally. I don't think it's necessary to wait for inspiration before starting. Very often, it's the work that brings it. During difficult periods, though, it's not always easy to maintain that approach. There are days when things don't go as planned, when a painting becomes frustrating or when motivation is harder to find. In those moments, discipline becomes even more important. Continuing to work, even when progress feels slow, helps me keep going. I've also learned how important it is to have other activities outside painting. Physical exercise, spending time with friends and having a social life help me clear my mind and return to work with a fresh perspective. Being a painter can be quite a solitary profession. I spend most of my time at home, standing in front of an easel, working on my paintings. I enjoy that solitude, but I also need to step away from it sometimes. 5. How do you balance your creative instincts with the expectations of your audience or collaborators? I always try to stay true to my artistic vision rather than being guided by other people's expectations. Early in my career, I worked on many commissions and often had to make compromises to accommodate clients' re- quests. I think this was a natural part of gaining experience and establishing myself as an artist. Over the years, I've become more selective about the projects I accept. I want to focus on work that genuinely interests me and reflects what I feel is important to express. Sometimes this means turning down opportunities that don't feel right for me. I value collaboration and I'm always open to dialogue, but I also think it's important to be honest with myself and my work. Constantly trying to satisfy other people's expectations can gradually take you away from what you really want to do as an artist. Finding that balance is an ongoing process. 6. How do you approach a new project? Do you have a specific process or routine you follow? Every painting begins with an idea, which I usually translate into sketches directly from my imagination. This is followed by a second stage, where I work with real people, whether friends, professional models or sometimes even strangers. Their presence helps me bring the initial idea to life, but it can also influence and transform it in unexpected ways. From there, I develop the composition more precisely, creating my own photographic references and refining the dif- ferent elements before moving on to the final painting. Interestingly, the actual painting is sometimes the easiest part of the process. I can spend as much time developing and preparing a project as I do painting it in oils. For larger or more complex works, this preparatory stage is particularly important and requires careful planning. With smaller paintings, however, I often allow myself much more freedom. Once I have gathered my photographic references, I might go straight to the canvas and begin painting with very little additional preparation, allowing the work to develop more spontaneously. 7. Can you let us in on some of the future projects, works? I have several projects in development, although I prefer not to reveal too much about them at this stage. I hope to continue working on institutional projects and sacred art, which have been an important part of my artistic jour- ney. At the same time, I'm developing a more personal body of work, increasingly connected to my roots, my Mediterranean background and the places and experiences that have shaped me. . maltatoday | SUNDAY • 25 OCTOBER 2026 Art (UN) EXPRESSED: An exhibition review by David 'dp' Attard ARTS • TV • WHAT'S ON BY LAURA CALLEJA suggestions by email lcalleja@mediatoday.com.mt The Q & A EDOARDO LA FRANCESCA 7 questions for... Extra round Who are your biggest influences, and how have they shaped your work? I draw inspiration from many different periods in art history, but the Baroque has certainly had a particularly strong influ- ence on me, especially the work of Cara- vaggio. His powerful use of chiaroscuro, the directness of his imagery and the way he communicates human emotion have influenced the way I approach painting. His work has always fascinated me, not only for its technical qualities but also for its ability to make a scene feel remarkably real and present. Growing up in Sicily and living in Malta, surrounded by the Medi- terranean, has inevitably shaped the way I see the world. The light, the atmosphere and the cultural heritage of these places are all part of my background. Perhaps these Mediterranean influences will become even more visible in my work in the future. It's something I'm increasingly curious to explore. Edoardo La Francesca is a Sicilian-born figurative painter based in Malta. Working primarily in oils, he draws on classical painting traditions to explore the human figure through both sacred subjects and personal works, with an artistic sensibility shaped by his Mediterranean roots. PAGE 2 PAGE 3 Theatre Ghadna Zghar: A story of friendship, growing up and finding your way MaltaToday is supported by Arts Council Malta Il sogno di Guglielmo II (The Dream of William II)