“Art strives after her by imitation, as the disciple imitates the master; Art, as it were, is the Grandchild of Creation.” – Inferno Canto XI, 103-105

In Dante Alighieri’s La Divina Commedia, the Inferno Canto XI states that Art is the child of Nature, and hence the grandchild of God. Essentially, this interplay between Art, Nature and the Divine serves as the basis upon which renowned local artist Anna Galea (b. 1958) dialogues with Dante’s literature in her exhibition entitled Metamorphosis.

The term ‘metamorphosis’ primarily refers to the process of transformation within nature, which is significant for a number of reasons in this exhibition. First and foremost, Dante’s journey in his La Divina Commedia may be viewed as one entire metamorphosis, whereby the protagonist begins in the inferno, journeys through purgatorio, and through the spheres leading up towards paradise.

Anna Galea

Relative to this, the exhibition may also be seen as a metamorphosis for Anna herself as an artist. Anna Galea is an award-winning artist based in Malta and Dubai, best known for her exceptionally large still life paintings and abstractions. Essentially, her works convey a masterful handling of the watercolour medium, for which she has been honoured as a master in Europe and the United States, as well as in the Middle East.

However, for this exhibition, she does not shy away from other media, such as oil paints and acrylics. The blending of colours together with the play on light and shadows, allows her work to breathe an air of realism while also remaining deeply rooted in idealism.

In Anna’s oeuvre, her style and subject matter are often inspired by nature and the elements surrounding it, as seen in her numerous exhibitions held locally and across the globe, including in Paris, Rome, Milan, Dubai, Abu Dhabi, New York and Washington D.C. In Metamorphosis, Anna veers more towards abstraction; a territory which she is finding stimulating and is continuing to explore. Her impressive control of the brush, through seemingly minuscule details in her abstract works, exudes a tranquil calmness which bestows an impactful aura upon the viewer.

Untitled, 2010

Her paintings suggest a bridging bet­ween this reality and that of Dante, which is at the very core of this exhibition. As a result, Anna is evolving from the idyllic-realist portrayal of nature to a focus on abstraction through nature and is taking the viewer on board Dante’s journey from l’inferno, through purgatorio, and ultimately ending in paradiso.

Metamorphosis emerges in the wake of the international commemoration of the 700th anniversary since Dante’s death, which took place last year. From Lorenzo Ghiberti’s 15th-century Gates of Paradise to Rodin’s infamous 19th-century Gates of Hell, Dante’s literature has been interpreted by artists numerous times, both locally and internationally. Yet, Anna’s works still seem to bring a fresh lens to his writings and visual transpositions.

Floating Circles Approaching Light, 2021.

Generally, interpretations of Dante’s work usually include an arrangement of illustrations from the Cantos, which often feature the dominant figures of Dante and Virgil. By taking a different approach, Anna does not illustrate Dante’s literature figuratively, but succeeds in capturing their aura. Anna’s works merit one to ponder in joyful tranquility, in a reverberating atmosphere of serenity and calmness.

On par with this, the vibrancy of colour transmits into the surrounding atmosphere of the Società Dante Alighieri. Consequently, the paintings for this exhibition were carefully selected with the intention of seeking to connect Anna’s idyllic, nature-based art with Dante’s journey through l’inferno, purgatorio, and paradiso – a metamorphic journey which is reflected in the curation of the exhibition.

‘Metamorphosis’ is not only indicative of Dante’s journey, but also of Anna’s personal and artistic evolution

To reverberate the words by Dante which this article began with, ‘Art [...] is the Grandchild of Creation’. Such words hold a certain significance within the context of this exhibition, and the metamorphic evolution of Dante’s journey and Anna’s artistic experimentation. Keeping this passage in mind, the exhibition is curated in such a way that it truly engulfs the viewer into the journey, along with Dante himself and Anna as the artist.

Green Pastures Beyond, 2020.

Aside from the curatorial layout which follows Dante’s journey towards paradiso, an essential component emerges towards the end of the exhibit – in the final rooms of the venue. The use of mirrors and reflections is central to Dante’s paradiso, whereby his writing evokes contemplation within the viewer, as is the case in Paradiso Canto XXI, v. 16-18:

“Let your mind follow where your eyes have led, and let your eyes be mirrors for the figure that will appear to you within this mirror.”

Such words thus invite the viewers to contemplate through their own reflections in mirrors set up in strategic positions at the exhibition venue; a metaphor which both Anna and the curator strive to capture within the exhibition. As a result, the dichotomy between this exhibition and Dante’s literature is purposefully aimed to create an immersive experience, whereby the viewer may engage with the works on a multiplicity of levels.

Inferno II, 2020.

One of Anna’s main intentions for this exhibition was to encapsulate Dante’s literature within the perspective of the present-day viewer. In the words of Russian poet Osip Mandelstam: “It is unthinkable to read the cantos of Dante without aiming them in the direction of the present day. They were made for that. They are missiles for capturing the future.”

As a result, Anna aims to encapsulate Mandelstam’s words, whereby she wishes to make Dante accessible to the new generations by dialoguing with his rich literature yet remaining truthful to her artistic style and philosophy. Whether the viewer may engage with the paintings purely for aesthetic reasons, or on an intellectual level by exploring the relationship with Dante, the exhibition is made to be comprehensible by all.

The Crossing, 2020.

Metamorphosis is not only indicative of Dante’s journey, but also of Anna’s personal and artistic evolution, and perhaps the exhibition may further trigger a metamorphic unveiling within viewers themselves, by experiencing this journey which can only be fully understood upon visiting.

The exhibition, curated by Hannah Dowling, is currently on show until March 20, 2022, at 134, Società Dante Alighieri, Old Bakery Street, Valletta. Entrance to this exhibition is free, but visits are strictly by appointment. One may book a visit by e-mailing hdowling@live.com or annagalea58@gmail.com or call on +356 79442531 or +356 99841055. Please note that due to the current situation, all attendees must wear a mask and maintain social distancing throughout.

A number of group visits, ‘Meet the Artist’ events, live sketching sessions and workshops will be organised and published on social media. More information on the exhibition and the aforementioned events can be found on Facebook and Instagram @annagalea58.

Tranquil Waters, 2015.