Edited by Joseph Borg and Maria Frendo (Il-Ħaġar Gems Series No. 11)

Every human being is born an artist but it is the few who let their art flow in such a way as to be expressed in ways or forms that fall under the senses. Aaron Formosa, a teacher of philosophy at post-secondary level, is one of these. As soon as he became aware that he could express himself through the art of painting, he took the brush into his hands to reveal his innermost thoughts and feelings. The Latins used to say that experientia docet; it must have been through experience that our artist began to feel at home in sacred art, an art that has become synonymous with his name as one of Gozo’s most accomplished painters.

Twilights is Aaron Formosa’s fourth personal exhibition. I have had the privilege of following his sacred art production over the last decade and, though I am no art critic, I feel that Formosa has matured with every step he has taken. His style has become identifiable only because he has carved for himself that particular niche which is his and only his. As in the case of the great poets whose poetry has become identifiable with them the more the one reads of their poetry, the same can be said for Formosa’s style and contents. 
 
There is something to his painting that pertains only to him. In her critique featuring in this monograph, Maria Frendo succeeded in getting hold of Formosa’s feel mirrored in his sacred art when she stated that his paintings are the product of ‘a fleeting moment of grace...a privileged moment nurtured by the unspoken and the ineffable silence’. Better still, she proceeded to conclude that the ‘experience’ his art offers is one that is ‘never imposed’. These words ring so true when one reflects upon the fact explained so well by Mgr. Joseph Farrugia in the book’s foreword as he states that ‘he finds no hesitancy in identifying with it while feeling as well challenged by its quasi-subliminal mysteriousness’. 

Becoming gradually familiar with Formosa’s sacred art is a spiritual experience in itself. Observing his paintings one after the other polished my sense of awe when encountering the sacred in art. There is no doubt that the artist behind these paintings craves for high spiritual moments that nurture his spirit. Without sounding too paternalistic, I feel I can safely say that Formosa’s paintings are the fruit of deep moments where his soul manages – even if for a short period of time – to transcend this world in favour of the otherworldly. Formosa manages to get over the abyss that divides the world of the senses from the supernatural without overstretching himself. 

Somehow, this notion of spiritual outreach is reflected in the lack of clarity that one instantly comes across in his artistic pieces. However, this ‘lack’ cannot be attributed to the featuring themes since the sacred biblical episodes he paints are convincing enough to invite us to meditate – and even I dare say contemplate – the depicted event. One never tires of Formosa’s sacred art: its ‘lack of detail’ is what makes it special, its lack of features is what makes it warmer. As soon as one beholds it in its entirety, one feels that he can become one with it, so universal it is in its appeal. So much for Marx’s dictum that ‘religion is the opium of the people’; if only it were so, Formosa’s sacred art would certainly feature in the operating theatre and how helpful it would be, it would certainly serve its purpose. 

The exhibition can be viewed virtually here

The book, Il-Ħaġar Gems Series No. 11, can be acquired by sending an email to info@heartofgozo.org.mt

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