Project Category: Art

Mizzi never endorsed Daphne Caruana Galizia’s journalism, particularly because of statements she published that were regarded by sections of Maltese society with left‑wing political leanings as offensive or objectionable. This view was by no means unique. While some, including the artist, chose to boycott her blog, others went further, directing harsh criticism and, at times, openly demonising the journalist.

When the events of 16 October 2017 unfolded, reactions varied. For some, the news came as a profound shock; for others, it was met with a sense of resignation, and even relief. The artist recalls being at work at the Valletta 2018 Foundation when news of Caruana Galizia’s assassination broke. Most of the colleagues present were horrified by what had happened, while a small number appeared almost relieved — a moment that revealed the depth of Malta’s political and emotional divisions.

Created in 2021, this artwork explores the charged terrain surrounding Caruana Galizia’s legacy. In the aftermath of her murder, public opinion remained sharply polarised. Some continued to portray her as a deeply divisive figure, often through the derogatory image of the “the witch from Bidnija”; others regarded her assassination as a disturbing sign of a society that had lost its moral compass.

At the centre of the work is a defining visual gesture: a precise incision that physically cuts and removes part of the image. This act of subtraction becomes a concise metaphor for the fracture within Maltese society. The cut operates simultaneously as a wound and a statement — a controlled rupture that exposes absence as part of the composition. For some viewers, it may suggest the symbolic removal of a perceived adversary; for others, it stands as a stark reminder of the violence, hostility and erasure that shaped both Caruana Galizia’s life and the public discourse surrounding her.

Despite its strong symbolism and social commentary, the artwork attracted no buyers when it was offered at the 2021 Malta Community Chest Fund Foundation online art auction. Its subsequent trajectory, however, brought it to an international audience. In 2022, the work was featured in the France 24 documentary Malta: Small islands, big issues for Europe, presented by Catherine Nicholson, produced by Johan Bodin, and filmed on location by Stéphane Bodin, with Luke Brown.

In December 2022, the artwork was awarded a Certificate of Artistic Achievement as part of the Luxembourg Art Prize 2022, further recognising its contribution as a work of contemporary artistic commentary addressing the social and political tensions confronting Maltese society.

In October 2023, Mizzi presented Daphne to the Office of the President of the European Parliament in Strasbourg, where the work became part of its permanent collection. On the seventh anniversary of Daphne Caruana Galizia’s assassination, the President of the European Parliament, published a public message on her social media profiles, accompanied by a photograph in which the artwork appears prominently in the background.

As a contemporary artwork, Daphne does more than depict a figure as it materialises a national rupture through its deliberate incision. The work transforms absence into meaning, inviting viewers to confront the unresolved narratives that continue to shape Maltese public life.

Last Tuesday, one of the greatest artists our world has ever known passed into the next phase of the existence he so profoundly contemplated through every breath of his earthly life.

Following my spontaneous words in honour of this immortal genius, I offer here a visual tribute to Franco Battiato’s luminous spirit, a limited edition print born from gratitude and admiration.

Its warm, radiant hues reflect Battiato’s thirst for Truth, a truth he pursued through music, poetry, and silence alike. His art was a living testament to passion, transcendence, and the courage to seek meaning within an increasingly alienated world.

Thank you, Maestro. May we all listen.

A commissioned work for a highly esteemed client.

The concept behind Wiċċ Imb Wiċċ emerged during reflective discussions with curator Melanie Erixon in 2020. We revisited an earlier project from my time at the University of Malta, where I explored constructing digital portraits through layered depictions of the same face. However, this iteration carried a new urgency, informed by the unprecedented disruptions of the Covid-19 pandemic.

The pandemic altered every facet of our lives, challenging how we connect, experience intimacy, and define our collective and personal identities. Against this backdrop, I initiated The (Facebook) Portrait Project II – Fading Social Distancing on December 27, 2020. It was a global experiment in collective portraiture, inviting individuals to share their digital likenesses and reflections on social distancing. The response was overwhelming—363 participants from diverse backgrounds contributed to the project, symbolically capturing humanity’s universal yearning for connection.

Each group of ten participants was represented through a unique digital portrait, created by re-appropriating their Facebook profile pictures. These portraits blurred the boundaries between personal and collective identities, sparking conversations on how isolation reshaped our social fabric. Participants used the platform to share their thoughts on social distancing, creating a mosaic of perspectives that reflected both the challenges and resilience of the human spirit.

The resulting thirty-seven portraits were reproduced on aluminium dibond and showcased at Il-Kamra ta’ Fuq in Mqabba during my third solo exhibition in April 2021. This project invited viewers to question: Who are we when we come together? How do we make sense of connection in a world defined by distance?

Dr Alex Grech, an expert in social sciences and digital culture, provided valuable insights into the project’s deeper implications. He highlighted the duality of social media as a space for connection and performance, noting how it has both amplified and fragmented our identities. His reflections underscored the paradox of seeking validation within the collective while navigating the blurred boundaries of selfhood.

In 2024, Wiċċ Imb Wiċċ took on a new life when I was invited to participate in Natale ConNoi, an international exhibition in Naples. Hosted at the historic Church of San Giorgio Maggiore, the event was a fundraiser for CasaBalena, a residency for children. A selection of twelve works from the series were recontextualised to explore themes of peace, unity, and the human need for togetherness. This exhibition offered an opportunity to reflect on how art can transcend its origins and contribute to broader conversations about connection and solidarity in times of disruption.

While the original exhibition at Il-Kamra ta’ Fuq has long concluded, the themes explored in Wiċċ Imb Wiċċ remain profoundly relevant. The project continues to evolve, inviting audiences to consider the ways we forge connection and collective identity in an ever-changing world.

For inquiries or bookings, please contact info@pawlumizzi.com.

External Links

25 April 2021 – The intimacy among strangers – Joseph Agius, Times of Malta

22 April 2021 – Interview for Illum ma’ Steph

16 April 2021 – Interview for Meander

7 April 2021 – Interview for Maltarti

30 December 2020 – A social exercise of portrait creation, The Times of Malta

Live Exhibition walk through by ARTZ ID

This captivating portrait teeters on the edge of abstraction, featuring a young woman in profile with bold, contrasting hues that imbue the composition with depth and complexity. The use of alternating white brushstrokes and black splashes and daubs creates a dynamic interplay of light and shadow, drawing the viewer’s eye in a captivating search for revelation. This digital portrait is a work of art, designed to provoke contemplation and reflection in the viewer.

One of the most striking aspects of this artwork is the composition’s handling of the lady’s facial features. The face seems to melt into the brightest area, creating a sense of immersion in a radiant light. The delicate white strokes add a touch of sophistication to the piece, evoking silver linings or shining reflections. Upon closer inspection, it becomes apparent that the artist has sought to capture the psychology of a woman in the throes of transitioning from youth to adulthood. The shifting color palette, moving from the mournful reds to cooler blues and brighter, more hopeful whites, speaks to the complexities of emotional and spiritual growth.

The three limited edition prints of ‘Dak li int’ have found homes in three distinct art collections, two in Malta and one in Ireland, testifying to its universal appeal.

Disconnection with a loved counterpart entails a process of yearning and letting go followed by hope or grief. Lullaby is a work about a state of disconnection, a state of sleep/flux in which the burning fire of desire sleeps but slowly sheds light on unforeseen revelations. The work was greatly inspired by the song Lulluby by American indie rock band Low.

“Cross over and turn

Feel the spot don’t let it burn

We all want we all yearn

Be soft don’t be stern

Lullaby

Was not supposed to make you cry

I sang the words I meant

I sang”

The focal point of this artistic endeavor revolves around the embodiment of feminine grandeur as perceived through the lens of an ardent admirer. Its inception was sparked by an evocative remark stumbled upon on July 27, within the comment section of the “ifwekissed” Instagram profile:

“i got so lost in her details. The shape of her lips. The way her hair falls on her shoulders. The way the light brighten her eyes. The way her smile forms when she looks at me. Didn’t matter who was in the room – she was all I saw.” 

This profound statement starkly juxtaposes the common English idiom “elephant in the room,” which alludes to a weighty subject, question, or contentious matter that is palpable to all, yet meticulously avoided to evade discomfort or unease. Irrespective of any controversy or disquietude, an authentic lover will forever acknowledge and celebrate the resplendence of their beloved.

The creative process was further accompanied by the music Elephant Woman by Blonde Redhead which was discovered on July 27 and which accopanied the conceptual creation of this artwork.

The female figure contemplates her fragile existence by holding and meditating over the suspended life of a plant shoot. Nonetheless, the anemone flower adorning the figure’s head augurs a prosperous future.

This work is inspired by the thematic of Anemone (2016), as a follow up to the Kobba phase and a first move towards new artistic territories.