During the next few weeks, il-Kamra ta’ Fuq will be hosting Moksha, the second solo exhibition by Rebecca Ranieri, where visitors will have a chance to explore a body of work showing the artist’s evolution. Curated by Melanie Erixon, this exhibition promises a visual and emotional experience.

If you’re already familiar with Ranieri’s work, brace yourself – this exhibition is sure to surprise.

Rebecca Ranieri. Photo: Clint Scerri Harkins

‘New twist’

Known for her evocative, anonymous faces, Ranieri brings a new twist to her signature style in Moksha. The familiar faces are still present, but the artist has integrated an element of transformation into each piece through the use of light.

Every artwork in this exhibition transforms with the flick of a switch thanks to an embedded light fixture that alters the mood, age and expression of her figures in fascinating ways.

Executed in her studio in Parma, where she currently resides, each piece in Moksha reflects Ranieri’s background as a paper conservator, but also her unyielding exploration of the possibilities of paper as an artistic medium.

Light as a medium

Throughout the history of art, light has played a crucial role – whether it’s the mysterious chiaroscuro of Caravaggio or the candlelit scenes of Georges de la Tour. More modern artists, like the pioneers of the Light Art movement, have incorporated light itself as a medium.

Ranieri, however, uses light not just as a tool but as a catalyst for transformation. The figures in her works change before our eyes, offering a ‘wow’ factor that speaks of her depth of research and skill in this unique form of expression.

Aged 2 - (1) and Aged 2 - (2)

Since her first group exhibition in 2020, Ranieri has consistently pushed the boundaries of what paper can do. She began by scratching the surface of the paper, and over time, her technique evolved into the removal of entire sections.

This intricate process has become her signature style, and it is in this exhibition that she takes her investigation into the potential of paper to new heights.

In Moksha, she focuses on negative space – often leaving the background blank to emphasise the subject. She plays with the backgrounds and light, where darkness becomes brightly illuminated, and ambient light turns into a stark, clinical white, drawing all attention to her portraits and the stories they hold within.

Ranieri delves into themes of personal growth and enlightenment, depicting figures whose true essence is revealed when the light switches on

One such example of Ranieri’s ingenious use of light can be seen in a piece called Undo. In natural light, the artwork reveals only the white silhouette of a head. But once illuminated, the piece transforms, revealing layers of depth that were previously concealed, a visual metaphor for the unveiling of hidden emotions or untold stories.

Marie (1) and Marie (2)

This transformative effect is at the heart of Ranieri’s work, connecting deeply with the exhibition’s title, Moksha – a term from Indian philosophy that represents liberation, self-realisation and freedom from ignorance.

Themes

In this series, Ranieri delves into themes of personal growth and enlightenment, depicting figures whose true essence is revealed when the light switches on. Each piece invites the viewer on a journey of self-discovery, symbolising the moment of realisation and the shedding of societal masks.

As part of the exhibition experience, the team at il-Kamra ta’ Fuq also experimented with the gallery’s layout. Visitors familiar with the venue will notice a marked change in atmosphere. The room is dark, almost industrial, with the rustic charm replaced by a more clinical, minimalist set-up. Visitors are invited to switch on and off the works to experience the changing narrative of each work.

EXcuse (1) and EXcuse (2)

Ranieri’s works can be divided into a few key sections, each telling its own unique story. For example, two striking portraits of women show how they’ve aged over decades. The transformation, when illuminated, is a reminder of how fleeting time can be, a nod to the ‘Memento Mori’ tradition.

In another set of works, male faces are transformed into clowns under the light. In Not a Dandy, a young man’s face shifts into that of a sorrowful clown, perhaps hinting at themes of hidden identity and inner turmoil.

Undo (1) and Undo (2)

Another piece, titled 17/03/1942 – Chicago, has an unsettling tone. A quick investigation reveals that the title refers to the birthdate of John Wayne Gacy, the infamous serial killer who performed as a clown. This macabre reference adds an eerie depth to the work, showing Ranieri’s flair for tapping into dark, unexpected themes.

But it’s not all darkness and mystery. Two lighter works, SuperTea and Marie, offer a whimsical and humorous take on elderly women. SuperTea features a woman in a loose-fitting Superwoman costume, while Marie presents an elegant woman wearing stylish sunglasses, with each piece capturing moments of grace, humour, and vitality when illuminated.

Moksha runs until October 6 at il-Kamra ta’ Fuq in Mqabba, where visitors are invited to witness these works and their transformations firsthand. A special thanks goes to artist and photographer Clint Scerri Harkins.