Issue link: https://maltatoday.uberflip.com/i/835410
maltatoday, SUNDAY, 11 JUNE 2017 30 This Week What were some of the most important lessons you've learned ever since you first started engaging with visual art in a pro-active way? Artistic growth is about having a thor- ough belief in the validity of one's own thoughts and practices. It is about being consistent and persevering, especially when working against odds. Since I started my studies at the Accademia di Belle Arti in Perugia, I learned how to push my in- trinsic convictions to the forefront, and create my own modus operandi. Needless to say, this took me time and the journey of self-discovery is still ongoing. I learned that a specific artistic language requires the establishment of a set of rules which in turn provide the common denomina- tor to diverse creative outputs, no matter which medium is employed. Last but not least, I have learned that 'art with a capi- tal A' may not necessarily please everyone, and that what matters most to an artist is being true to oneself. How has your art style developed over the years, and what were some of the most important influencing factors of this development? I consider myself first and foremost a creator of images. 'Art mirrors life' is the belief that underpins different practices in my oeuvre, that includes painting, etch- ing, installation, photography, sculpture and video. Upon my return to Malta from Perugia in 2001, I started to focus mainly on expressing symbolically the spatial and psychological limits affecting islanders. Surpassing boundaries and looking be- yond the horizon are themes that recurred regularly in my documented outdoor in- terventions. During the last six years or so, I started to work on a project that is still in progress, with the medium being experimental photography. This project, which I named 'Ageing Mirrors', developed in parallel with my figurative and abstract works produced daily in my studio. Working in series, I started to create unorthodox visual narra- tives that address a number of fundamen- tal existential issues, namely fear, hope, conflicts, violence, ageing, self-preserva- tion and death. Ageing Mirrors has been evolving since its conception and it is updated regularly online. Classical ideals are a major source of inspiration as regards the formal nature of this particular work whereas minimal- ist, conceptual and contemporary artists like Chuck Close, Gilbert and George and Richard Prince influenced me in one way or another. How would you describe the 'Memorie…' exhibition, and your contribution to it? How did it feel to be selected by Vittorio Sgarbi, and what kind of impact do you hope this will have on your career? For the 'Memorie...' exhibition I pre- sented four manipulated photographic works, the highlight of which is a triptych entitled 'The Passage of Time'. The work revolved around the existential theme of time and the physical changes it brings about. Three self-portraits were placed next to each other with the visual narra- tive suggesting the suspension of time. My idea was to highlight some formal aspects common to Renaissance painting. In fact, this work was conceived as a tribute to the artist Pietro Vannucci (il Perugino) who used to live and work in the region of Um- bria. Prior to and during the exhibition the participating artists were able to discuss and relate with art critic Vittorio Sgarbi. The theme presented was quite challeng- ing, as it put into question the memories underlying the heritage of past and mod- ern art vis-à-vis the validity of contempo- rary art practices which are currently un- folding. As Sgarbi justly pointed out, only time can affirm or secure a coveted place for a contemporary artist in the prestig- ious history of art, irrespective of the fact that such an artist is either secluded in his studio or otherwise entertaining his au- diences in familiar art circles. It was my pleasure to participate in this internation- al event and I am appreciative of Vittorio Sgarbi's analysis of my works, his positive comments and recommendations. I think that such participations are beneficial to one's own personal growth as an artist. Needless to say, these lead to the estab- lishment of networks of communication with international artists, critics, curators, entrepreneurs in the field of visual arts and gallerists. What do you make of the local visual arts scene, particularly when compared to your experience of studying and exhibiting in Italy? From what I learnt during my studies abroad, informal learning is very impor- tant in the formative years of an artist. I'm of the opinion that art courses offered at the University of Malta have improved and become more stimulating in recent years. Having said this, I feel that these still remain prevalently academic and relative- ly less student-centred. Apart from that, prospective artists are nowadays able to access easily written and visual contents related to the arts on the internet and fa- miliarise better with the contemporary ar- tistic scenario. This is a huge asset which I could not help myself to 20 years ago, when I was committed to my art studies abroad. Nevertheless, a huge drawback for Maltese students is the limited direct exposure to exhibitions held regularly on mainland Europe, which are a must to better appreciate the quality of different forms of art. As regards the local contem- porary art scene, it has developed con- siderably throughout recent years. Local art institutions have shown an increasing willingness to host experimental works and less conventional practices. What I feel needs to improve is a better distribu- tion of resources and funds to pro-active artists who are increasing in number, but who are finding it hard to make ends meet. What's next for you? Though it has been a few years since I held my last solo exhibition, I have never stopped practising and was also commit- ted to other projects and collaborations, the latest being a collective international event in Bahrain. My next step is to open a gallery of my own which will cater for collaborative events with national and international artists. The gallery situated in Gozo will be open soon to the general public. I am also currently working on a collection of paintings which I hopefully intend to exhibit next year. For more information on Christopher Saliba's work, log on to: www.christophersaliba.com. Memorie del passato e del presente will remain on display until mid-June. TEODOR RELJIC speaks to artist Christopher Saliba about his participation in the collective exhibition 'Memorie del passato e del presente' organised by the Egg Mayo association in Perugia and for which the participating artists – Saliba included – were selected by the renowned Italian art critic Vittorio Sgarbi Channelling the Renaissance in the now Passage of Time (2017) by Christopher Saliba: "My idea was to highlight some formal aspects common to Renaissance painting" Saliba (right) was one of the artists hand-picked by renowned Italian art critic Vittorio Sgarbi (left): "It was my pleasure to participate in this international event and I am appreciative of Sgarbi's analysis of my works, his positive comments and recommendations"