Most of us have drawn at some point in our lives ...
The choice and selection of artists was well-informed and well-rounded within the genres of illustration, abstraction, minimalism and realism displayed
We’ve all picked up a pencil or marker and doodled, sketched or scribbled something to illustrate our argument, not to mention the copious kiddie drawings at elementary school.
We were all veritable prolific artists in the making back then.
But as time moves on, most of us abandon drawing perhaps failing to realise that mastering the technique of “line” is often at the root of paintings, sculptures and installations.
So why is it that we, as viewers are mostly given only the opportunity of experiencing the finished artwork, and not the process (or series of drawings) leading up to it?
More importantly, are drawings potentially or partly finished works, or can they constitute an end in themselves?
The answer is perhaps the motive behind and the reason why the recently-opened Bank of Valletta exhibition titled I Draw is so very valid.
This is the second in a series of shows in which the BoV board has directed its attention towards the younger generation of Maltese visual artists rather than the established or professional artists who have been showcased in a series of retrospectives over some 10 years.
This point begs some analysis or questions at the very least. Have all the possibilities for retrospective shows been exhausted?
Or is it simply a case of turning over a new leaf, of re-branding or the choice of investing in young creativity?
Whatever the reason, the new trend initiated with last year’s Relocations is being expounded. The choice of curator is highly indicative and has had a huge impact on the quality of the show.
Anton Grech was this year’s choice of curator. Perhaps more than ever before, the curator’s imprint and personal aesthetic could be sensed holistically – throughout every aspect of the show, including the catalogue’s design.
One of the major drawbacks of using the BoV head office as exhibition venue is the total lack of proper hanging facilities (among other things), which should have been taken into serious consideration when devising the space.
As a consequence, exhibition boards are installed and utilised as backdrops for the artworks which sadly obscure rather than enhance the exhibition, making the whole rather inelegant.
Thus, I never thought exhibition boards could look good. Yet Mr Grech has happily proven me wrong. His love for white, neutral colours has been translated with all means possible. He opted for different, textured boards which have been up in a compartmentalised fashion thereby giving an independent space to each of the seven exhibiting artists.
The selected visual artists are:
Fabrizio Ellul, Nigel Baldacchino, Bertrand Fava, Adrian Abela, Darren Tanti, Anabel Cordina and Irene Zammit – hardly newcomers to the scene.
There doesn’t seem to have been any conceptual rationale binding the works of the artists together.
That is why Anton Grech opted for a clean, uniform design – the standardisation in size and frame gave the whole set up a quasi architectural look – thus focusing on the visual flow and narrative rather than a common theme or thread.
The individual artists’ works are as diverse as are their personalities – each exploring representations of a social, whimsical, political, architectural or “physical” nature.
The choice and selection of artists was well-informed and well-rounded within the genres of illustration, abstraction, minimalism and realism displayed.
I was particularly impressed with Adrian Abela’s work – his Octopus of FeightH is a menacing tentacled airborne icon of eternal life which is as alluring as it is accomplished in its rendition.
The drawing could easily stand alone, yet the surrounding architectural Houses of FeightH enhance the “holy” aspect inherent of the work. The Octopus is one to revere.
Fabrizio Ellul makes a welcomed return to the scene after a two-year hiatus, and persists with his themes of politics and social comment.
His line is strong as is his subject matter. Contrastingly, Darren Tanti’s works are quasi decorative, aesthetic pieces/anatomical studies, which almost reveal the sensitivity of a sculptor whose precise preoccupation is the modelling of form in space.
Bertrand Fava and Anabel Cordina present the “sketchiest” works of the exhibition; their figure studies reveal process and temperament.
In Ms Cordina’s case, the figure is often revealed through one swift, continuous line, which recalls some of the principles surrounding gestalt painting. Mr Fava’s line is rather aggressive yet very confident; his drawings reveal a sensitivity and foresight that makes the viewer stop, notice and linger. I do look forward to seeing more of his work.
I was surprised with Nigel Baldacchino’s series – his illustrations, although lacking a certain freshness and spontaneity, have a strong appeal and prove that he can go well beyond the realms of photography when expressing himself through various creative means.
Irene Zammit’s work stands out among the bunch. There’s a maturity, sophistication and philosophical core which attest to her seriousness and dedication.
I Draw is perhaps one of the most successful in BoV’s history of visual art shows. The quality, display, flow and narrative have never been so clean or clear. Quoting Leonardo da Vinci, “Simplicity is the ultimate sophistication”. This show only serves to prove the Renaissance master right.
• I Draw runs at the Bank of Valletta head office in Sta Venera until July 13.