JA: The interaction of human bodies with water reminds one of David Hockney’s Splash series. Most paintings of the British artist’s series relate to the representation of the actual violent dynamics of a human ‘volume’ meeting a body of water. The swimming pool is a controlled environment, yet there is a depiction of a certain human-induced violence that affects the limpidity of the pool. Your paintings presumably relate to the wide-open sea, and there is a measure of balance whereby the sea and the human body merge into a symbiotic equilibrium. Do you find any relationship between your work and Hockney’s or is this maybe more towards similarly themed work by Eric Fischl?

The Floral Swimsuit

TM: With this collection, there is a notable parallel with Hockney’s artistic approach, particularly concerning the utilisation of negative space within the compositions. However, I believe that my work distinguishes itself through a profound sense of limpidity. Even when portraying submerged figures as the central subjects, the surrounding elements play a crucial role in conveying the intended narrative. The negative space is not simply an absence, but rather a deliberate inclusion that contributes to the overall visual experience.

Interestingly, Fischl’s work has also played a significant role in shaping my artistic sensibilities. His ability to capture a sense of incompleteness and urgency through confidently executed brushstrokes resonates deeply with me. This inclination towards portraying scenes that appear both rushed and yet assuredly composed is a hallmark of my own artistic expression. In this regard, I find myself more aligned with Fischl’s artistic philosophy and approach.

Ultimately, while Hockney’s use of negative space has influenced my work, it is the resonances with Fischl’s style of conveying incompleteness and urgency that truly encapsulate the essence of my artistic vision in the exhibition Salt.

The In-Laws

JA: Titled Melħ (Salt), as indicated in the exhibition’s mission statement, the choice refers to the chemical property of the sea itself, that chemical compound that is transparent when it dissolves in water, such as in seawater, but which crystallises on our skins and clothes when the water evaporates. Salt adds to the sea’s buoyancy, helping the swimmers keep afloat almost effortlessly. Do you feel that the title reflects more the intangible, the effect (buoyancy) and the joy of suspension, both metaphorical and real?

TM: Salt truly encapsulates the essence of my work. The way the bodies in my pieces interact with and are transformed by the properties of salt is a central theme that I find incredibly compelling. One aspect that I’ve found particularly captivating is actually the buoyancy of these figures.

Observing the unique and sometimes comical postures people adopt to stay afloat has been a source of immense joy for me. These positions are simultaneously distinctive and relatable, showcasing the intricate balance between individuality and universality. In a sense, the paintings capture a shared human experience while celebrating the diversity in how we hold ourselves both physically and metaphorically.

For me, the sea represents a sanctuary, a boundless expanse that offers an escape from the everyday hustle and bustle

JA: Your first solo exhibition, back in 2018, was titled Plajja: Playa and was thematically linked to human activity on seashores. Similar to your current exhibition, it featured bodies in all shapes and sizes, unselfconsciously interacting socially, while soaking up the sun’s rays. For Melħ, you concentrated on the sole individual, heads cut off by the sea’s meniscus. One maybe discovers a duality: silence as portrayed in your current exhibition versus noise via the human chatter of your first solo. Does this point towards a personal and existential crossroad? Or do you find that with this being your fifth solo exhibition things have come full circle in some way?

TM: In the context of this exhibition, I believe my creative journey has come full circle, reigniting my inspiration through a subject that resonates deeply with me. As many individuals have observed, the scarcity of greenery in Malta has become increasingly apparent and concerning. However, amid this environmental challenge, I have chosen to shift my focus towards something positive and uplifting – the mesmerising blue sea that surrounds our island.

The British

For me, the sea represents a sanctuary, a boundless expanse that offers an escape from the everyday hustle and bustle. My personal connection with the sea deepened when I began snorkeling last year. This immersive experience allowed me to not only appreciate the shoreline’s beauty but also to admire the vibrant community of swimmers and explorers who enjoy the sea’s embrace.

Among the various coastal spots I’ve visited, Għar Lapsi holds a special place in my heart. It offers the perfect balance between capturing the human form – as people engage with the sea – and showcasing the intricate and breathtaking seabed landscapes that often go unnoticed.

The Gossiper

Through my artwork, I aim to convey the juxtaposition of human presence against the backdrop of the vast sea, highlighting the harmony and interplay between these two elements. Salt is an exploration of the sea’s allure, its transformative power, and the unity it fosters between people and nature. I hope that my artistic endeavour not only draws attention to the remarkable beauty of our marine surroundings but also encourages a greater appreciation for the profound significance of preserving and cherishing our natural environment for gene­rations to come.

JA: The swimsuit or trunks define the gender of the persons portrayed and roots them to a location which one might assume is shared with other people, beyond the below-water perspective. Would portraying them nude have detracted from the underlying concept, maybe one that relates to your first solo?

TM: This collection delves into the profound relationship bet­ween individuals, their age, and the aquatic landscapes they inhabit. The swimwear featured in the artworks emerges as a poignant symbol, intricately intertwined with the very essence of these individuals’ identities. To me, each piece of swimwear exudes a unique charisma, a testament to the diverse personali­ties that wear them.

The Patriot

The Floater

The Pregnant Lady

The White Stripes

It’s fascinating to consider how swimwear becomes more than just a functional garment; it transforms into a visual representation of character. The patterns, the styles, even the choice of swimming shoes, all contribute to an intricate tapestry that narrates stories of those who don them. Nostalgia also plays a powerful role, as the colours and patterns evoke memories reminiscent of cherished moments spent by the water’s edge.

Recollections of my own childhood days spent with my grandparents come rushing back, adorned with vivid recollections of the hues and motifs that adorned fellow swimmers’ attire. It’s this connection bet­ween memory, identity and swimwear that resonates deeply with me, reinforcing my commitment to preserving the authenticity of this collection. To remove this integral element would risk diluting the essence that has been so beautifully captured.

Melħ (Salt), curated by Charlene Vella and hosted at The Phoenicia, is on throughout September.