JA: The choice of title Muxrabija is a strange-sounding one. What does it mean?

GJM: One can still come across the muxrabija in some old houses. It is a structure on the first floor of these buildings that protrudes out of the façade, thus providing a small space through which one can surreptitiously peer at the goings-on in the street below – it is like a giant peephole. Through this collection of works, I’m metaphorically observing the outside world and reflecting on it.

JA: Your springboards, as can be found across your general oeuvre, are literature, philosophy and theology. Can you elaborate on the creative process?

GJM: I would be reading, or thinking about something, and I’d jot down a thought, and then there is a visualisation process. Being such personal and profound thoughts, it is difficult to convey the message to others, it indeed takes a lot of effort.

The quotes which accompany the actual paintings are there to help those who are attempting to decipher what I have in my mind; I admit that this process is rather non-conventional and complicated.

Jiena Hu

This time round, I went for the figurative in the sense that they are less abstract than my usual repertoire. However, I feel that the viewer needs an explanation to get to the roots of my intention. For example, in the case of Ġenju, Buffu u Puppazz, the protagonist I portrayed resembles Albert Einstein.

The title and explanation instruct the viewer as to the relevance of the clown, in that he represents contemporary man who is of a certain intellectual standing.

A viewer would wonder at the relevance of the clown if he or she doesn’t refer to the title and the explanation. For me, he represents the man of today of a certain calibre and wisdom; he could be a politician, a leader, or person who is influential. Even though he possesses geniality, and he might even be a genius, many times he’s a puppet on a string. He’s a clown because he’s participating in a comedy – he makes a parody from the seriousness of life. I believe these thoughts can greatly help to interpret the work.

JA: Can a path be traced from previous exhibitions, or are you veering towards the figurative? Once you had told me that you’re attracted more towards the abstract rather than the figurative.

GJM: I find there is more liberty and spontaneity in the abstract; however, I don’t intend the new paintings to figuratively spoon-feed the audience. They are all very bold and three-dimensional; there’s my actual hand inscribed in them, there’s my fingerprint in almost all of them. I used this to act as an imprint, as part of the design.

I still do abstract work, but I thoroughly enjoyed doing figurative mixed media work. It is a way in which I can express myself more strongly and boldly.

Missier il-Gideb

JA: Besides the theological, the philosophical and the literary, are you also influenced by protagonists of the visual arts?

GJM: I was lucky enough to personally know various art giants of the Maltese scene. When I was only 10 months old, Raymond Pitrè painted me in a portrait with my mother. I deeply respect him; I was influenced by his palette and the raw nature of his abstracts.

This loss of simplicity is tiring us out – we are now feeling its repercussions

I also resonate with Gabriel’s child-like fascination, his rawness as well. However, I have to admit that God is the only true original, we are just a sponge that soaks up influences. We’re always learning from people, places, and unimaginable sources. There’s a Latin saying that goes ‘Libris ex Libris’ – books come from books. I don’t know if you see any other influences.

JA: I glimpse some of Antoine Camilleri’s and Josef Kalleya’s spirituality.

GJM: I was lucky enough to meet Kalleya often because he was one of my father’s close friends. I remember that for my art O-Level exam, I used to visit him in Marsa, and I’d show him what I had drawn and he’d give me feedback.

I was young when I started using clay and mixed media − I didn’t even know of Antoine. But he fascinated me when I discovered him. Nowadays I consider him to be a mentor whom I’ve never spoken to or met. I know him through books, his art, art appreciation, and art critics.

Franġisku

I feel like expressing myself figuratively is satisfying; I can portray what I want more easily. Which is beautiful as, nowadays, we have complicated lives, we have lost simplicity. The main dominating force that governed these important artists we mentioned is simplicity. The incisions that Antoine created are as simple as can be. Even Gabriel, he was like a young boy enjoying doodling and scribbling away, and that is great.

This loss of simplicity is tiring us out – we are now feeling its repercussions. Man has become more inclined to partake in that which is not his, and we often discard and ridicule authenticity.

JA: Returning to the meaning of the title, which really intrigues me. Are you more inclined to be hidden, to be concealed, rather than to reveal yourself?

GJM: I quote the words of Jesus Christ: “Be in the world but not of the world.” While I feel I should be a part of the world, as otherwise I’d be an alien, I can’t afford to be swept away with the current. God gave me my brain, my eyes, and the ability to form my own opinion. It doesn’t mean that if a particular person said something, then it is gospel truth. The person, whoever he or she might be, is of flesh and blood like me, so is not infallible at all. Only God is absolute and who is all wisdom par excellence in all respects.

Muxrabija, hosted at The Dome’s Visitor Centre, Mosta, is open until January 8.