JA: Having an oxymoron as the title of your first solo exhibition ‒ A Collective Solo ‒ immediately captures attention while showcasing the multi-thematic aspect of the enterprise. However, the use of the medium of soft pastels is consistent throughout. Do you think that the thematically unfocused nature of the exhibition will add to the introductory aspect of it?

EP: Does it make ‘illogical sense’ to present a collection of paintings with various themes but with a common denominator – the medium used? 

In my opinion, to explore the limits of the medium you have to explore different themes and find the most appropriate techniques to match. This solo collection follows these parameters: an uninhibited, free style where the choice of pastels with varying chromatic consistencies match the subject depicted.

I relish not being chained to one subject matter: I find that it allows creativity to flourish. It is not abnormal, in fact, for me to be working on three pictures with different themes at once.

The Cuban Girl

JA: Which artists do you find most inspirational? Do you have other sources of inspiration besides art-related ones?

EP: “I will astonish Paris with an apple”: Cezanne’s famous words; a bold statement at the time with which the master rekindled the fascination for the relatively humble sill life scenes that were for centuries ranked very low on the hierarchy of genres in what was considered to be highest forms of art. My still life paintings do have his influence, with apples and pears featuring in more than one painting. The truth is that I find that their texture and form lend themselves well to my style of painting with the pastel strokes mimicking impasto technique when desired.

Portraiture is about the study of emotions conveyed by humans, where an artist tries to capture the psychology of the sitter. In this regard, I find inspiration from Vincent Van Gogh who, with calculated brushstrokes laden with paint, managed to execute powerful, timeless portraits. The pastel marks in my portraits are very economical in the choice of colours and execution and this is done in order to mimic this style.         

Gold Coast

Van Gogh‘s quote “If you truly love nature, you will find beauty everywhere” encapsulates my thinking about my subject matters. I see beauty in simple things and my compositions – from still lifes to seascapes, to well-worn shoes – evidence this.  

An uninhibited, free style where the choice of pastels with varying chromatic consistencies match the subject depicted

JA: Studying under the late Harry Alden and Anton Calleja has undoubtedly exposed you to their different perspectives. Alden represented hard-edge and stylisation while Calleja’s mastery of the human and its nuances shows in your portraits. What lessons have these two masters imparted to you?

EP: These mentors throughout my journey so far have greatly influenced me. My soft pastels technique, which I leave unblended, lends itself well to achieving the hard- edge style of Harry Alden. This is also the case for Calleja’s strong use of pure colours, especially white and the deep shadows. I consider myself a colourist in the sense that I tend to exaggerate colour temperatures in my paintings. I see many different colours and tones within one red apple, for instance.

The Sardinian Fisherman

JA: Do you envisage a preference towards a theme in the future? Or will there be more ‘collective solos’?

EP: I do not like to be attached to a particular theme, although I find the most solace when executing portraits and the human figure. Because a figure can move so quickly, or poses are held for a few minutes each by a model, I have to work fast. This is a major challenge that I enjoy. To answer your question, even if an exhibition was to head towards a specific theme, it will always be a ‘Collective Solo’ for me.

JA: Any other reflections?

EP: I consider myself to be my own worst critic, never convinced that I am ready to exhibit my work. This is why I am glad that I was encouraged towards putting up this exhibition by my artist friends and my curator, Charlene Vella, for which I will be forever grateful. 

A Collective Solo, curated by Charlene Vella, is being held throughout October at the Palm Court Lounge of The Phoenicia, Malta.