Project Category: Digital Collage

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.

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.

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.