Project Category: Digital Collage

Just you and I (Int biss u jien)

November 2, 2024 | 

The haunting cry “Int biss u jien” in Aidan’s pop song Juliette, accompanied the creative urge for this digital composition, in February 2024. In Juliette, a solitary voice sometimes becomes a chorus, evoking primordial desires and confronting the very essence of personal and universal existence. This resonated deeply with me during a period of reflection on life’s inevitable arc, the common denominators of life and death. The song, became a gateway into a profound yearning for connection, purpose, and transcendence – a thread of longing that underpins this piece.

Against this introspective backdrop, the work draws inspiration from my deep dive into the philosophical musings of Franco Battiato during that period. Battiato’s reflections on existence and the metaphysical journey provided a guiding framework to explore not only what it means to exist but also the search for a kind of spiritual ascension beyond this realm. This personal quest is represented in the central figure of the woman – she embodies a synthesis of corporeal vulnerability and existential longing, as though poised at the threshold between the earthly and the ethereal. This duality is symbolised in her two sets of hands, suggestive of her ambivalence and transcendental reach; that which Battiato refers to as the horizontal and the vertical lines.

The woman’s form is coloured in striking pinks and muted flesh tones, with an overlay of texture that blurs the boundaries between body and background. She stands exposed yet emotionally guarded, a figure of both invitation and introspection. Her posture and gaze convey a mix of concern and grace, reflecting a quiet acceptance of mortality alongside a hope for transcendence. This state of suspended contemplation suggests she carries unfulfilled memories, regrets, and desires, resonating with the timeless story of Magdalene, a figure defined by longing, repentance, and the quest for transcendence.

At the heart of the piece, lying on a golden field beneath an old oak tree, is The Penitent Magdalene by Francesco Hayez, subtly inverted. This inversion not only deconstructs the traditional themes associated with Magdalene: remorse, reflection, and redemption, but also brings her forward into a contemporary context. Magdalene, once a figure steeped in religious penitence, is here reimagined as a symbol of spiritual contemplation and existential desire. In Hayez’s work, she embodies humility and penitence; in this reimagining, she transforms into an icon of longing and awakening – a Magdalene who seeks meaning not only in the divine but in the intricate web of earthly existence and its entangled desires.

The background itself is layered with a surreal landscape, merging organic floral motifs with abstract textures. This environment serves as both a memoryscape and a dreamscape; a place where nature and fantasy coexist. A rising moon balances the daylight, a reminder of the night’s promises in the song, of romantic embrace and a dance that dispels the need for sleep. This liminal space is alive with the tension between beauty and loss, symbolised by fading florals and the spectral landscape on either side. The figure thus becomes a traveller within this landscape, straddling the realms of memory and imagination, desire and detachment.

“Int biss u jien”  became a soundtrack around which this composition revolves, a hymn to the fleeting nature of human connection, the fragility of promises, and the persistent quest for something beyond. It is a work that seeks, in Battiato’s own words, to make one “worthy of the other dimension.” Through digital collage, I merge fragments of memory, symbol, and existential questioning into a singular vision – a vision of a Magdalene reborn, who longs not only for repentance but for release, for meaning, for an ascendance that is as personal as it is universal.

–

In October 2024, this artwork was awarded with an Honourable Mention for its outstanding display of remarkable aesthetic, originality, and technical expertise, distinguished among artworks across all fine art categories, within the 9th International CFA Artist of the Month competition hosted on the Circle-Arts website.

Limited edition prints are available on demand. Get in touch here.

Dialogue in Transcendence

July 6, 2024 | 

This intimate project presents a compelling dual narrative in “First Breath” and “Fear” through the intricate digital collages of Pawlu Mizzi. Demonstrating his expertise in digital image manipulation, graphic design, and printing, Mizzi meticulously constructs each piece by layering digitised elements, crafting complex compositions that go beyond photographic realism to encapsulate his narrative vision.

“First Breath” and “Fear” are deeply influenced by the haunting melodies of Explosions in the Sky’s “First Breath After Coma” and Mogwai’s “Mogwai Fear Satan.” These instrumental post-rock tracks serve as emotional and thematic anchors, enriching the depth and immersive quality of Mizzi’s creative process. Digital art, in his hands, becomes a mediumistic tool to connect with the intangible, forming a tangible narrative that goes beyond mere visual aesthetics.

Mizzi’s technique of requalifying existing images through layers of textures and colours results in a rich tapestry that invites viewers to explore the deeper meanings within each piece. This layering creates an immersive experience, where the interplay of digital elements forms a cohesive whole, emphasizing the intricate and multifaceted nature of his artistic message.

Presented together, these artworks offer a unique exploration of human existence, from birth to death and transcendence. “First Breath” celebrates new beginnings, depicted through warm golden landscapes and serene blues, with vibrant colours symbolising the dynamic energy of creation. In contrast, “Fear” illustrates transformation, with a poised, pallid figure surrounded by an ethereal glow, symbolising fear as a catalyst for change rather than a paralysing force.

The narratives of “First Breath” and “Fear” are not definitive but instead encourage ongoing personal and collective dialogue, inviting viewers to move beyond simple analysis. An animated loop complements the artworks, reviving the conceptual essence of Mizzi’s work and facilitating a deeper engagement with the themes presented.

As you journey through these illuminated narratives, you are invited to a path of self-discovery and renewal. Here, fear is transformed into a guiding light, and each breath signifies the dawn of new possibilities, offering a contemplative experience across space and time.

The artworks are now on display at the Mdina Cathedral Museum until August 23rd, 2024, open Monday to Saturday: 9:30 AM – 4:30 PM (Last Entrance at 4:15 PM) and closed on Sundays and Public Holidays. The Project patrons are The Mdina Metropolitan Chapter, Montaldo Insurance Agency Limited and Square Consulting Ltd.

Please feel free to reach out for potential partnerships and art/cultural exchanges.

Problem Solved

April 8, 2024 | 

Centred in the artwork is the figure of the newly-sworn-in President Myriam Spiteri Debono, digitally edited to sit on the otherwise empty chair, a direct nod to Austin Camilleri’s controversial installation “Siġġu,” which featured an empty throne in front of Queen Victoria’s monument in Valletta’s Republic Square. While Camilleri’s commissioned work – the centrepiece of the second Malta Biennale – sparked wide discussions on neocolonial mindsets and the invisible forces shaping Maltese society, this digital creation takes a different trajectory. The digital collage is based upon the showcase photo presented on Camilleri’s social media, thus it is requalified as an artwork itself. At the same time, “Problem Solved” overturns the original thematic by symbolising and suggesting resolution, bridging divides, and thus, metaphorically addressing and “resolving” the issues underscored by Camilleri’s “Siġġu.”

President Spiteri Debono, depicted with a posture of dignity, resolve, and approachability, embodies the aspiration for a leadership that is both visible and accessible, echoing her own words upon taking office. Could her presence in the chair be the answer to the hundreds of arguments that “Siġġu” provoked? With an informal posture, her feet dangling over the pedestal’s grandeur, she symbolizes familiarity and instills hope for governance centered on dialogue, integrity, and the well-being of the Maltese people above all else. That is what the Maltese are hoping for.

This piece sets itself apart from the Malta Biennale’s conservative thematic pursuits by ironically intertwining the modern historical context highlighted by the state-backed festival with the pressing contemporary issues facing the nation. Despite the artist’s optimistic aspirations for resolution, this hope is continually undercut by the pervasive stories of corruption and political turmoil that afflict Malta on a daily basis. Thus, the conversation surrounding national identity, governance, and collective ambition must evolve to acknowledge a present tainted by recent adversities.

This artwork is not merely a visual representation but a call to action. It invites onlookers to reflect on the significance of moral values, the importance of safeguarding these principles, and the role of leadership in fostering a society where dialogue, compromise, and respect for the constitution reign supreme. It is a visual manifesto, urging both citizens and political leaders to embrace a future where governance is not a seat of power but a seat of service to the people.

“Problem Solved” thus becomes more than an artistic creation; it is a symbol of the collective resolution of the Maltese people to move forward, leaving behind discord and division. It represents a hope for a new dawn, one where the wounds of the past and the scars of corruption, are acknowledged and healed through concerted efforts towards unity and integrity. The artist provocatively questions the spirit of a nation and whether it is ready to fully embrace its identity, learn from its history, and work towards a future that honours humanitarian principles and the values of the nation, as represented by the role of the President of Malta.

It was originally posted on the artist’s Facebook Page on April 4, 2024. It was also shared on the artist’s personal Facebook profile himself sparking various reactions.

Je suis

July 19, 2015 | 

Je Suis is a compelling set of digital collages produced in February/March 2015 that invite viewers to explore the intersection of gender, identity, and spirituality through striking visual narratives. Three female figures take center stage in these thought-provoking compositions, each embodying a tragic iconography reminiscent of Christian rituals and symbolism.

The title “Ecce Homo” draws parallels to the solemnity of the Passion of Christ, prompting viewers to question the societal constructs that define and confine the individuals depicted. The use of Christian references, such as the crown of thorns, evokes themes of suffering and sacrifice, challenging the status quo behind the person being represented.

“Salve Regina” delves into the delicate balance between holiness and mundanity, questioning the notion of what makes someone holy or revered. The collages compel viewers to contemplate the standards and expectations imposed on individuals, particularly women, in society.

In “Je Suis Paul,” the artist’s personal crisis of identity takes center stage. By reclaiming his original legal name Paul, the artwork confronts the thorns that punctuate life’s journey, exploring the challenges of self-discovery and self-acceptance. It serves as a powerful reminder of the importance of introspection and authenticity in an ever-evolving world.

The triptych culminates in a forth piece: “Je Suis Pawlu,” a concluding self-portrait. The artist, wearing headphones and facing the viewer, invites us to reflect on our own identities and the need to listen to ourselves amidst the cacophony of external influences. It symbolizes the ongoing journey of self-discovery and the pursuit of a genuine sense of self.

Barabba

March 6, 2009 | 

The man saved by the crowd at the cost of an innocent man had supporters loudly demanding his release. Will people always choose Barabbas, the commercial, most marketed, and shiny option? Can a financial reward or glittering promise sway the crowd? As Marco Castoldi stated, “If you let the people decide, they will always choose Barabbas.”

“Barabba” challenges the cries of “away with this man, and release to us Barabbas” (Luke 23:18). It is a self-reflective and societal question about the erosion of values that shape individual and collective identity.

“Barabba” was part of SQUARE collective exhibition, curated by artists Alexandra Pace and Pierre Portelli in April 2009 at 68stlucy gallery in Valletta.