A palette of greens and blues, but primarily of pinks, currently dominates the paintings exhibited in the vast Space C at Spazju Kreattiv. Works on paper contrast to this, executed almost in monochrome, be they in acrylic and/or charcoal or monotypes. The brushwork and strokes, however, are very much the same: expressive, confident, bold, with an emphasis on drawn lines. 

The works in this exhibition are by Maltese artist Ġulja Holland (b. 1990), who studied Fine Arts at Leeds University and the Royal College of Art, and works between Malta and London. This is her fourth solo exhibition of works that were executed in Malta, the UK and Portugal. 

This exhibition also includes a video installation by Charlie Cauchi which features the Pixies’ song Monkey Gone to Heaven. This, and the reference to a number of objects in the exhibits, continues to set the mood. 

Baby

The recurring mention and appearance of Adam and Eve invoke religion, but there is more to this exhibition than that. While portraying very individual imagery of the first man and woman who walked the earth (according to Genesis), this exhibition is meant to conjure up thoughts that go beyond religion.

And, while acknowledging that religion has led some of the greatest artists to produce what are the most remarkable works of art ever created, this exhibition portrays a world that is devoid of civilisation, what humankind has worked towards for centuries.

Gym balls at the exhibition

Other creatures are animalistic, surrounded by overgrown nature that seems to thrive without any human intervention. In fact, any semblance of a normal human being has been erased with the creatures that appear to look very much like rather dull-witted beings, even primordial. 

Yet, these references to Adam and Eve should not make one think of life pre-civilisation. In fact, this exhibition portrays a post-apocalyptic, absurd place, one where Holland wants us to question where our place in the world really is, what our relationship with the environment should be and what we can contribute to the world. 

Mother and Child

References to G.K. Chesterton’s poem The Donkey further connotes a religious element, but also to strangeness, in the way that the donkey did not find that he fit into the world. History’s view of the donkey changed from it being seen as stubborn or stupid in the ancient world, to a symbol of humility, suffering and peace in the Bible. The poem too helps to set the tone for Holland’s exhibition that is, all in all, an exploration of the human condition. 

Another literary reference comes in the form of figs and fig trees, and therefore to Sylvia Plath’s novel The Bell Jar, that offers some hope among struggles and alludes to self-realisation, identity and feminism. Holland has reached an age where the environment and its destruction is central to her thoughts and it contributes to her anxieties as well as a sense of morality, even as to her gender, and what socie­ty construes success should be. In fact, images of maternity and embryos also feature prominently in this collection. This leads to thoughts on existentialism. All of these are recurring themes in Holland’s oeuvre.

Ġulja Holland is borrowing the term ‘gothic’ as an adjective for her own pictures that offer doom and gloom

The exhibition is titled A New Gothic. The word ‘gothic’ was on Holland’s mind from the onset of the production of these art works. Gothic is a term used by Giorgio Vasari (1511-74) to refer to architecture that, in his opinion and that of several Italians of the Renaissance period, was crude, barbaric, and wrongly associated with the goths, vandals, barbarians or Germanic or Nordic tribes who invaded Italy and sacked Rome in 410 CE.

When Forests Walked

We know, of course, that there is nothing barbaric about Gothic architecture that produced a number of engineering feats, especially in the soaring cathedrals that are replete with meaning and colour that was introduced through stained glass windows and such.

Holland is borrowing the term ‘gothic’ as an adjective for her own pictures that offer doom and gloom. 

In many ways, Holland’s anxie­ties and reflections on society are not dissimilar to those felt and brought to life through their art by some of the most creative artists in the history of the western world. Her paintings surely bring Hieronymus Bosch (c. 1450-1516) to mind (that Holland directly quotes in her paintings), as well as Pieter Bruegel the Elder (c. 1525/30-1569), even William Blake (1757-1827), among others. Like any artist, Holland is influenced consciously or subconsciously by what other great masters have accomplished, yet she manages to capture onto paper or canvas her own personal dreams, or dreamt up reality. 

Pisces Rising

Her passion for these themes is as palpable, as her thoughts were heightened by the recent pandemic. This is the future of humanity, or the earth rather, that Holland imagines, that humanity is leading itself into: extinction?

Through her surreal images of seals, vine trees, lush vegetation and skeletal forms, Holland’s intention is not to be negative. We must not take these paintings too seriously and they must also be viewed with a hint of humour.

The pink hues, especially, come across as a reminder of just that, pink being a playful and nurturing colour. The pink and blue gym balls dotting the exhibition space are an invitation into the world as Holland sees it. This exhibition is very much a play of the imagination. 

Two of the exhibits

A view of the exhibition

Holland is a remarkable young woman who is pursuing her dreams without being preoccupied with traditional notions of the beautiful. Many would say that there is enough ugliness in the world, yet these art works are a reflection of her emotions, her psyche. In the words of Picasso, “Everything you can imagine is real”. 

A New Gothic is open at Space C, Spazju Kreattiv, Valletta, until May 21 and curated by Andrew Borg Wirth.