Issue link: https://maltatoday.uberflip.com/i/670480
maltatoday, SUNDAY, 24 APRIL 2016 30 This Week A lament without misery What led you to focus on these workshops as a subject, over other potential subjects in Malta? Why do you think they were interesting from a photo- graphic perspective? Those workshops are part of the identity of Malta. Beaches, parties, sun, the crystalline sea… okay, they're all beautiful, but these subjects are well covered already, and to be honest, they don't make Malta so particular or attractive to a foreigner like me. For me Malta is traditions, religion, history, architecture, stone, hunters and pigeon train- ers. From a photographic ap- proach, these workshops are full of this Maltese spirit: colourful, full of details, mixing all these Maltese particularities in the same place, every square metre tells a story and photography is a lot about that, telling stories. Would you say that the pro- ject is a swan song for the work- shops, or do you hope it might actually raise enough aware- ness about these disciplines to perhaps encourage them to keep going, in some capacity? Depending on the disciplines, a lot have already disappeared. Malta is changing quickly: whether it's the the changing of the harbour activities, the end of the old buses or the arrival of the digital era, the craftsmen can hardly find a place in this "new Malta". Is it neces- sary to have rope-makers or b o o k - b i n d e r s ? To preserve their knowl- edge? The book doesn't provide these answers, but opens a door on that forgotten world – which is still alive, full of tra- ditions and part of the Maltese identity. Is it good to lose one's identity, to forget the past? I'm not so sure. The project is clearly not just about aesthetics, but has a strong element of social and cultural heritage. How did you incorporate both into your working method? I tried to not focus on the so- cial aspect too much. It's always there, in the background and in the details, but I didn't want to do a miserabilist or a "save the workshops!" book. My research – my curiosity – was focused on what I see every day in Malta. In Valletta I see karozzin every day, but are people still building them? The answer to that will be in the book, among many others. Was there a common feeling among the artisans, smiths and mechanics you spoke to and photographed? Did they share similar concerns, fears and dreams? If so, what were they? First, I really want to thank all of them for their patience and hospitality – it was a wonderful experience. They continue to work despite their age – the old- est among my informants was 83-years-old – and a lot of them keep quite busy, because people know them and like and respect what they do. They always do a good job, and often for cheap. Only a few of these artisans are young, and for most of them it's the same story: they did the A 'Lazarus Taxon' is a species that disappears from the fossil record, only to reappear again later. In what is something of a hopeful invocation of the concept, French photographer Arnaud Griggio and Maltese architect Konrad Buhagiar are hoping to crowdfund a book on the fading traditional workshops around Malta. TEODOR RELJIC spoke to Griggio about what drew him to document these precarious but precious fixtures of local culture Shoe Repair shop, Gzira Bus Mechanic, Luqa Arnaud Griggio Stone sculptor, Rabat Metal Worker, Valletta