Art of the spirit

The main reason for my meeting with Giuseppe Schembri Bonaci was essentially related to the inauguration of the Descent from the Cross - an exhibition which is currently on show at the Cathedral Museum in Mdina, featuring Willie Apap's work bearing the same title, together with a collection of preparatory sketches, bozzetti and paintings executed by Apap as forerunners to the finished work.

Willie Apap (1918-1970) was, in fact, one of the foremost local artists active during and around the mid-20th century. The Descent was executed towards the latter part of his life - precisely, in 1964 - and despite its iconography, should not simply be labelled as a work of "sacred art". The Descent may have a deeper spiritual meaning and context other than the obvious. Firstly it could reveal the internal struggle of an artist who was ultimately searching for his faith; the copious sketches and preparatory works are testimony to this struggle to believe - a concept which Dr Schembri Bonaci has labelled as angoisse. He also suggests (and I tend to agree with him) that Apap could have unconsciously or subconsciously felt the imminent fatal diagnosis of cancer steadily yet unknowingly approaching. The Descent thus becomes one of the final attempts for the artist to reconcile conflicting principals with his God and religion - a final act of "redemption" which ultimately became manifest in his paintings as a spiritual rather than divine aura.

I also question Dr Schembri Bonaci as to the choice of venue for the exhibition, a venue which I feel is in dire need of maintenance, upkeep and thorough revamping. So much so that the works of art on display in the temporary exhibition hall - that is Apap's works - cannot be properly appreciated, let alone "interpreted".

However, Dr Schembri Bonaci proclaims his love for the space and has to date set-up roughly six exhibitions in this same venue. Hopefully, in the near future some serious care will be dedicated to it - thus elevating it to a standard which would be suitable for more temporary shows.

The exhibition is also accompanied by a handsome publication which is being presented to provide new insight and thorough analysis into Apap's painting. The text has been researched and written by Dr Schembri Bonaci and is the second "study" to be presented by him over the past few months, the first being a contribution in the terms of an in-depth study on The Nude in Art, which is found in Patrick Dalli's exhibition catalogue (presented alongside the artists' solo exhibition at St James Cavalier - April/May 2008).

In the first pages of this catalogue, there is mention of five projects which Dr Schembri Bonaci has in tow; naturally I am curious to know what these projects consist of and where that of the Descent features. I eventually learn that the projects aren't simply five in number but rather several series of projects; one of these series took off with the critical study written for Mr Dalli's exhibition catalogue.

For this series of projects, Dr Schembri Bonaci has literally chosen and decided to pinpoint certain local contemporary artists, starting with Mr Dalli, and proceeding to other artists such as Anthony Catania or Goxwa Borg, whom he feels "have something different to say".

Contemporarily, another series of projects that was initiated by the Descent exhibition and publication will incorporate and feature studies focusing on a singular work of art. The "novelty" of these exhibitions lies in their approach - the study of an artist through a unique yet key work which epitomises their artistic career and reveals their developmental process of subject matter through analysis of the same process found in preparatory works and bozzetti.

Dr Schembri Bonaci is also helping to organise a number of symposia/workshops concerning Modern Western Art in relation to other forms of art and culture such as the Russian Avant-Garde or Aboriginal Art. These shall take place at the University as part of The History of Art programme.

The last series of projects, however, is more personal-based; these are in terms of solo art exhibitions. The two which he mentions are those at Gattopardo Gallery, in Mdina, and another entitled Wine and Water, taking place in the Bayerische Kulturfonds Museum in Regensburg, Germany, between July and August this year.

Nevertheless, (a small aside) Dr Schembri Bonaci reveals yet another project which he has particularly become attached to, albeit one which as yet has not taken flight. He wishes to "take over" and to be given custody of a chapel which he would like to develop as a meditative/contemplative space. He envisages this space to be "open" to persons coming from all backgrounds, religions and cultures. It would essentially be a space in which to "experience" art (painting) within art (architecture) - a space not dedicated to (a) god (or God?) but rather to man.

I leave one very particular question for the end - one which is perhaps the more important when viewing the circumstances in a wider spectrum of events. I ask Dr Schembri Bonaci which "title" he feels most affiliated with - artist, historian, lecturer, (lawyer), writer, philosopher? Too many people try to take on several roles contemporarily, causing strain on one or more facets of their manifesting their multifarious personality. Dr Schembri Bonaci feels that the title of artist is most akin to who he is, with all other areas of interest or discipline simply acting as subsidiary or complimentary areas in his

life. He stated, "I dedicate myself to art by subjecting everything to it!" Thus the various areas of concern or practice become mere tools that give him inspiration and act as his muse - areas which are essentially exploited for art's sake!

• The exhibition of the Descent from the Cross runs until June 16.