Artist MAXINE ATTARD presents Before the work there’s ‘I’ – a deeply introspective show at Valletta Contemporary taking aim at the conditions in which works of art are able to be produced, or not. Lara Zammit speaks with the artist to discuss what may be behind the writing on the wall.

In over 17,000 words sprawled across the walls of the Valletta Contemporary art gallery, artist Maxine Attard attempts to address all the many ways in which a work of art can be produced, and all the many ways an artist may be stifled from doing so.

In Attard’s latest solo exhibition Before the work, there’s ‘I’, the artist produces artworks in a ritual of repetitive gesture towards something sublime and unattainable.

However, the works are interrupted, and the show presents itself as a reaction and introspection, taking aim at the conditions in which the works were able to be produced and not through texts pulled from the artist’s diary splayed over the walls of the gallery.

The show also considers the effects of market forces and contrived art players, which may impede the needs of the artist.

So, what conditions are needed for an artwork to be created?

“First and foremost, having the time to create the artwork,” responds Attard. “Having the time to concentrate with as few interruptions as possible, with as few worries as possible, including financial worries. The less there is to disturb and distract the artist, the better.”

The artist maintains that time is more important than having a space or a studio to work in because the latter can be somehow managed, though she says she is basing this on her own practice, which many can relate to.

“We artists know what we need to do to create the work of art. We just have to be allowed the time to make it happen.

“People working in the art world – people besides the artists, that is – know this very well, more in Germany and in the UK where I work and have worked respectively… less so in Malta.” Commenting on the role of the ‘I’ in the artist’s process of creation, Attard says that while the artwork is being created, the ‘I’ is what is most important.

“The artwork cannot be created without the ‘I’ – the artist, that is. The artwork needs the artist to be created. Then, once the artist creates and finishes the artwork, then it is about the artwork not about the artist.”

‘I cannot make great work under these conditions’

Some of the conditions in which art is produced are not entirely of the artists’ making, including market forces and contrived art players, both of which may stifle the ‘I’ or artist from producing the work of art.

“The show is intentionally incomplete (because I could not complete it) in that I mostly have writing and less artworks or art objects in it, although the texts on the walls have become an artwork in themselves.”

The show is intentionally incomplete (because I could not complete it) in that I mostly have writing and less artworks or art objects in it, although the texts on the walls have become an artwork in themselves

Most of the texts are extracts from the artist’s personal journal from the past year and hence have dates accompanying the entries.

Attard also spoke with artists and individuals working in the art scene, mostly in Malta, some of whom have reached out to share their experiences months before she set up the show.

“I have listened to a few harrowing stories which I have included in my texts,” she says.

Some snippets from the extracts read: 

• The artist may or may not make the work for this space. The artist has to look for money somewhere else. Therefore, the artist may decide to make the work in another place where there is an art market, and the work is more likely to sell.

• Works of art have been stolen from artists, damaged, destroyed and lost. Artists have been treated as subjects, servants, assistants and cleaners. Artists’ skills and equipment have been used without artists getting paid.

• Malta does not believe that art has any use. It pretends or thinks that it does.

• The artist is not willing to adopt a subservient position.

• I apologise if you want to see more. I know some of you want to see these objects that I make. You, who I had never met before, have told me so. But I cannot make great work under these conditions.

Attard confessed she knows there are people from within the local art scene who didn’t like the show.

“Their comments have reached me – comments about the show not being liked because it is ‘negative’, for instance. Apart from the fact that art shows with a ‘negative’ tone can and do exist, I doubt these individuals have even read the texts on display because the reaction of the many who have done so has been the opposite, and overwhelmingly so.

“I also think facts, such as artists’ work getting damaged and destroyed, are more important than the tone of the show.”

Attard says the question of whether she is being literal or figurative in her texts has also come up and there were others who seem to be unable to look beyond the ‘I’ in the title.

“The need to explain all of this to the local art scene is concerning,” says the artist.

“Having said this, many have understood very well what is going on in the show. I keep getting messages from artists and non-artists thanking me and telling me they feel encouraged. And I have learned from their reactions.

“So, there is more beyond the ‘I’, it seems. And there is also hope.”

Before the work, there’s ‘I’, a solo exhibition by Maxine Attard, is showing at Valletta Contemporary until February 24. For more information, visit vallettacontemporary.com/before-the-work.