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maltatoday, SUNDAY, 10 JANUARY 2016 30 This Week Negotiating modern morality Up-and-coming artist Ryan Falzon speaks to TEODOR RELJIC about his latest exhibition, Quick Fix: a morality tale, which tells the story of the rise and fall of a petty thug through 14 lino prints incorporating pop and punk imagery and Byzantine art What was the reason you went for a 'morality tale' as the over- arching theme for this exhibi- tion? Printing as a medium has a long history as a vehicle to convey a moral message, even if for long it has been overshadowed by other media, mainly painting and sculp- ture. Prints, ranging from Biblical scenes to Hogarth's satirical etch- ings to Maria Antoinette's lesbian adventures, the focus was rarely the medium itself. In an age where mental engagement is crucial to a successful artwork more than ever, I do find this idea of using the print as a vehicle, without ignoring its aesthetic elements, as extremely intriguing. The title obviously refers to the Medieval morality plays, or interludes, where actors, often low-lifes, played symbolic roles such as God, Death, Evil and Jus- tice. In Quick Fix: a morality tale, contemporary elements are made to play the same roles. The series can be seen as a modern Allegory. However, as opposed to historical morality tales, the series I am pre- senting here is open-ended. The viewer is to decide about the fate of the hero, through clever use of text and visual elements, especially colour. How did you work out this con- cept, and how does it tie into your previous work? I tend to work in a series, rarely producing one-off works. I have been experimenting with the idea of having a series with a linear plot- line for quite some time. I am using the term 'linear' with reserve; the series is far from a straightforward narrative. I try to avoid spoon- feeding my audience, and love to allow ambiguity and contradiction in my works, so that viewers can have an opportunity for reflection. As in my previous work, this series demands engagement from the viewer, and refrains from provid- ing comfortable answers. The use of colour in this series is unconventional and unsettling, echoing my choice of palette when painting. Composition-wise, the prints are quite challenging and can even be described as collages, where a variety of sources are jux- taposed together, with the interac- tion between the elements allow- ing for new interpretations. The exhibition also appears to incorporate various styles and aesthetic interests. What were the various influences that came into it? The images have various refer- ences, from Byzantine to Neo- Expressionism, with a dose of pop and punk thrown in for good measure. Some are straightfor- ward, such as the use of the Ford Escort as a statement of machismo and coolness. Other references may appeal to art lovers who will recognise styles and influences from the history of art. I also in- clude details which captured my attention while researching this exhibition. For example the kind of car used by the Mafia in the 60s to make a public statement in their terrorist attacks was a white Alfa Giulietta, which I include in one of the prints. The exhibition has got several undertones, such as redemption, vengeance, violence, sexual perversion and the afterlife. I am trying to create a particular, local visual language, using a vast array of sources. Without wanting to sound tacky, I have to say that the local element and identity is always present in my work, not be- cause I am Maltese and the works were created in Malta, but due to the popular images and urban legends that fuse their way, some- times subtly, in my works. You appear to have been mak- ing an effort to organise solo ex- hibitions at your own initiative over the past couple of years. What are some of the challenges of carving a niche for yourself in the local arts scene? The challenges that I encounter aren't local, but are the same chal- lenges that aspiring artists struggle with. These include getting your name out there, financing your art and exhibitions, being fresh and innovative all the time and such, having a sounding board against which to bounce your ideas. This exhibition is also a first collabo- ration between myself and cura- tor Michael Fenech, one which we plan to be long term. We have spent long hours discussing the concept and narrative, and it is al- ways useful to have someone who challenges your thoughts. I don't come from an artistic background, therefore I had to learn the ropes all by myself. In Malta, young artists who are start- ing off face difficulties in showing their work professionally. Having "Many young artists who are starting off face difficulties in showing their work professionally. Having said that, a lack of available platforms can be an opportunity for artists, especially emerging ones, to come up with fresh alternatives" 'Age 16', by Ryan Falzon Ryan Falzon