Diversity is what traditionally gels collective exhibitions into one apparently cohesive whole. At times, the different artistic languages that are brought together in these exhibitions are like opinions shared in the Greek agora. This was the place where classical Greeks gathered to share diverse views, constructively criticise and determine life as they knew it.

Genetic Engineering by Arthur Taliana

The term ‘praxis’ originates from the Greek world and was subsequently adopted into the Latin vernacular. It can be defined as “the process by which a theory, lesson, or skill is enacted, embodied, or realised”. This encapsulates the concept behind this collective exhibition recently held at the Ministry for the Family and Social Solidarity, Valletta, by six contemporary artists who share no underlying conviction that binds them together.

The lack of a common conceptual structure was the driving force behind this disparate display of works in which there was honesty and loyalty to the ethos of each and every individual artist. There was no concerted curatorial effort to unite the six artists in their expression. In this way, each artist was free to follow his or her own praxis via the skillful manipulation of the medium, execution and concept of his or her choice.

Ruth Bianco’s repertoire as one of Malta’s foremost and accomplished conceptual artists includes many multidisciplinary investigations. These include ones that deal with the contemporary concerns of geopolitical displacement and the spatial representation of interconnection of geographical locations that the artist visits – it is like a visual transcription of a wanderlust that takes Bianco to different places around the globe, besides those that are close to home.

Her contribution of four sketches to Praxis Six was part of a more comprehensive and larger ongoing project, Between Places, that relates to a collection of photographs of particular spots that speak out to the artist and that she snaps as she proceeds on her itinerary.

There was no predetermination or sequence of locations. The geography of these four works was recognisable – the templates were the photographs that Bianco snapped of l-Aħrax tal-Mellieħa and the Bird Reserve. She developed them into statements by using her archetypical representations of either a bird or a fish in this instance. These she actually integrated into the idyllic surroundings as possible sculptural Earth Art projects that draw on the migratory movement of birds and fish, something which is beyond human geographical constrictions of territory and country.

Sometimes she transposed the two stereotypes as suggestions in built environments and city squares. These were collages that combined architecture, sketch work, photography and sculpture as well as text into a cohesive statement in favour of an unspoilt and pristine environment devoid of any human destructive element.

Between Places by Ruth Bianco

There was honesty and loyalty to the ethos of each individual artist

Local jazz aficionados are familiar with the Sarajevo-born Stjepko Gut and his talent as a jazz trumpet player. However, last year he was inspired by Joe Vassallo, who was also exhibiting in this collective, to try his hand at expressing himself in art.

Hand by Charles Sammut

His abilities soon flourished. During a trip to Gela in Sicily he came across the brilliance of Sicilian maiolica, and another one to South Africa exposed him to more essential art forms. These enriched him with new perspectives and possibilities that he consequently explored and developed.

A series of sketch work that bore a slight resemblance to Jean Cocteau’s stylised creations was effectively transferred to a different medium. The result is a series of plates that were striking in the choice of brilliant colours. It was a union of the chromatic variations of maiolica and the cubist elements of African art.

The free variations in execution hinted at an unencumbered musicality that is the language of the jazz-performing artist. Miles Davis observed that “a painting is music you can see, and music is a painting you can hear”. Gut’s art is defined by the legendary jazz trumpet player’s words.

Charles Sammut’s repertoire of monumental ceramic sculptures need no introduction. He has developed his own signature biomorphic and anthropomorphic sculptures along the years. The topographical properties of his work enticed the viewer to interact with the pieces through the sense of touch.

Three Sisters displayed the refined Brancusi element of reduction and simplicity. The chromatic variation between the three elements of the sculpture could be read as Sammut’s reaction to racial discrimination. Colour is only skin deep and doesn’t determine a race’s superiority over another. We all belong to the same family of primates.

In his study of a Hand, the Maltese sculptor was not interested in the anatomical perfection of a Rodin hand. Nor did he want to provoke scandal as was the case in Maurizio Cattelan’s notorious raised Middle Finger sculpture. Sammut’s Hand was open as it invited us to clasp it and be children again. And willingly be led to safety.

Contemporary Maltese artist Mark Mallia has been a valuable mentor for Pat Spiteri during this past year. However, the young artist has independently developed her own style of expressionism as she reached into her subconscious and wrenched out her own monsters.

The cycle of works that Spiteri exhibited was a quadriptych of observant eyes reminiscent of a cycle of thematically similar works by Raymond Pitré. The change in the colour of the iris followed the season ascribed to each of them. A polychromatic cross hatched terrain concealed like a veil and added to the voyeuristic power of the all-seeing eyes.

The luscious growth of the eye lashes suggested that the peeping toms were female. The eyes are the windows to the soul and can reveal the innermost turmoil, bewilderment or doubt, besides being also a symbol of alchemical enlightenment. Basic fear manifests itself through wide open eyes.

The tutorship of the two pioneers of Maltese modern ceramics, Gabriel Caruana and Neville Ferry, nurtured Arthur Taliana’s love for the medium. He prefers unglazed terracotta without the embellishment of glazes.

Autumn by Pat Spiteri

He explored themes that were personal as well as universal. The signature earthiness of his sculptures delivered a message that is uncontaminated and relevant. Genetic Engineering interpreted the DNA sequence, which is the basis of life, as actual building blocks that are susceptible to human manipulation. The life-giving ovum is in precarious balance and is vulnerable as the surrounding womb was seen ripped apart and therefore offering scant protection. Bombed Ruins of a Cathedral was an enigmatic sculpture whose title suggested war-time destruction. The two phallic elements that formed the essential structure of the sculpture were driven apart by a circular wedge that prohibited their eventual reunion. In primitive traditions, the circle represented the female, the goddess, as well as the sun. One could decipher this powerful work in a number of ways.

Abstraction has been a staple for a long time in the output of Joe Vassallo. As a veteran of the contemporary art world in Malta, he showed confidence in sculpture and photography as well. His wanderlust has exposed him to a number of cultures, artists and occurrences which contribute to his varied oeuvre. The stylistic differences in the abstractions exhibited at Praxis Six demonstrated this effectively.

While some of the works suggested an American Expressionist influence, particularly that of Franz Kline, another evoked an oriental hybridisation in the spirit of Zao Wou-Ki. This dichotomy defined the artist himself as he did not relinquish his artistic freedom and confine himself to particular media or themes. His art reflects his nonchalant and open approach to life itself.

Gut Places by Stjepko