Issue link: https://maltatoday.uberflip.com/i/357188
27 MARVELLOUS MELBOURNE – PG 34 THIS WEEK 'REACTIVE Empathy' is based on the importance of gesture and ex- pression in communication. Par- ticipants were filmed while being shown the same series of 16 imag- es. The viewer finds himself mim- icking the expression, displayed on a circular array of screens, without experiencing the stimulus. What are the most important things you've learnt at MCAST this year? This year was my last year at the MCAST Institute of Art and De- sign. I was a stressful year due to the fact that, along with a number of modules, a thesis had to be done as well. But looking at the bright side it was all worth it. Looking back at this year, the times that come to mind are when as a whole class we worked together to put up a professional exhibition space, as well as working individu- ally to produce our own work to exhibit. Throughout this year the MCAST gave me the chance to experience new things, such as exhibiting a Sculpture at the Verdala Garden, also in a group of three. I also learnt how to professionally present exhib- ited works and my teachers helped inspire me to explore and improve my work. How would you compare your progress this year to that of last year? Looking back at the scholastic year of 2012/2013 I believe that my work has improved with the help of teachers and even classmates. Through the years I have learnt different techniques that I later ap- plied to my artwork. Taking the comments on this year's exhibition space into con- sideration, it seems that it has also improved from last year's, giving that this year it was quite stressful and hectic due to the fact that just 12 students had to transform two rooms into a professional exhibition space. And I think we succeeded. What are some of your key themes and artistic preoccupations? Have they evolved in any way during your time at MCAST? Over the five years I spend at MCAST, my themes have changed. During this time I produced a number of works that had to be themed according to the module given. It was in the last two years that I began to create work that shows my identity, also producing video art, which I had never done before. My work in video art was mainly in the form of stop-motion videos and recordings. While attending MCAST I had also sought the help of a number of teachers and did my own research to learn about video editing, helping me to profession- alize my work further. What will be next step for you? I am applying to do a Masters of Fine Art in Digital Arts at the Uni- versity of Malta in an effort to fur- ther explore the digital art world. Meanwhile I hope to take on short coursesto help me improve my work and become more knowledgeable about this particular subject. I am also considering living and studying abroad for some time, in order to gain experience and ex- plore other culture. I think this will also serve as a window into a completely new artistic world and a chance to try new techniques. school visits. This process makes Ziguzajg a unique platform for the development of new work and an excellent partner in creative risk- taking. What about international participants? How did you 'source' them, and based on which criteria? How did you determine that they would be suited for a Maltese children's festival in particular? We participate in international networks and festivals to hand pick international productions that compliment the diversity of com- missioned works. Since theatre for children and young people is not a regular activity within the Maltese theatre season and we do not have a rich tradition of theatre for young audiences, it is very difficult to de- termine what children may or may not enjoy. On the other hand this is a unique opportunity to present outstanding international work as a benchmark for our audiences. Ultimately, if I don't laugh, cry, feel mesmerized or be enchanted by the simple act of experiencing the performance, then as festival director I'm not interested in programming the work. Be it dance, puppetry or circus arts, we try to select works which can only be presented within a festival environment. Most of the international shows in Ziguzajg, produced by some of the best pro- fessional companies in the world, have also performed in major fes- tivals internationally. Some impor- tant companies are now approach- ing the festival to feature in their touring circuit. What are some of the highlights from this year's edition? And how does it build from the last year's edition? The fourth edition of will present an eclectic programme of interna- tional performances and commis- sioned work to thousands of Mal- tese children, young people and their families. We also plan to invite inter- national programmers to view the works featured in the newly launched Malta showcase initiative to export our work to international festivals. This year the festival will mark the 25th anniversary of the UN Convention on the Rights of the Child. We strongly believe that each and every child has a fun- damental right to access culture and participate actively in creativ- ity. We are doing so within a year of national celebrations, marking events that few children may relate to. So we're making sure that we engage in creative conversations about identity and self-expression. Expect some wacky visual arts projects, thought-provoking dra- ma, pumping balancing acts and young people taking over the city. DANCE IN THE DESERT – PG 35 Following the MCAST Art and Design End-of- Year exhibition, MaltaToday interviews some of Malta's (hopefully) up-and-coming artists. This week, we speak to Lisa Formosa maltatoday, SUNDAY, 3 AUGUST 2014 Emotion in full technicolour Lisa Formosa OUTSTANDING OLIVES – PG 32