In 2016, Pawlu Mizzi transformed the familiar Valletta altar boy statue into a critique of Malta’s construction boom. Through his digital manipulation, Mizzi sheds light on the delicate balance between progress and the preservation of Malta’s cultural and natural heritage.
In 2016, Pawlu Mizzi presented this thought-provoking digital manipulation that captured the shifting reality of Malta’s urban landscape. The work reimagined a vintage statue of an altar boy, a familiar sight at the entrance of YTC Travel Malta in Merchants Street, Valletta. The physical statue bears the inscription “Għinni nsir qassis” (Help me become a priest), a plea for donations to support young men in their studies for the priesthood, symbolising the island’s culture rooted in spiritual and educational values.
However, Mizzi’s manipulation altered the narrative profoundly. By replacing the inscription with “Għinni narma krejn” (Help me set up a crane), he drew attention to the escalating construction boom that was transforming Malta’s skyline. This shift from a spiritual appeal to an industrial one starkly highlighted how the island’s priorities had changed. Malta, once characterised by its religious heritage and rural charm, was rapidly becoming dominated by cranes, concrete, and the steady erosion of its natural and cultural landscapes.
The reworked statue became a powerful metaphor for the country’s transformation, where economic progress seemed to come at the cost of its identity. Mizzi’s manipulation did more than critique the visible changes to the physical environment—it aimed as a reflection on the social and cultural implications of such development. As the cranes multiplied and construction projects expanded, the very essence of what it meant to be Maltese was being questioned. The rural beauty and architectural heritage that had defined the island were under siege, replaced by a relentless focus on urbanisation.
This digital manipulation, shared on Facebook, urged viewers to contemplate the consequences of unchecked development. The altar boy, once a figure of spiritual aspiration, now symbolised the island’s pivot towards economic gain, with its inevitable toll on the environment and heritage. A sharp commentary on the fragile balance between modernisation and preservation.
The piece remains as relevant today as it was when it was created. In the years since its unveiling, Malta has seen even more rapid expansion, with the construction boom showing no signs of abating. The once-green spaces of the island have been replaced by buildings, and cranes still loom large over both rural and urban landscapes. The concerns that Mizzi raised in 2016 have only intensified, making the work a prescient and enduring reminder of the need to reflect on the true cost of progress.
Pawlu Mizzi’s manipulation resonates because it encapsulates the tensions that Malta continues to face. His work questions whether the island is willing to sacrifice its unique cultural identity and natural beauty for short-term economic gain. While development is an inevitable aspect of any modern society, Mizzi’s art asks us to consider the consequences of losing sight of the very things that make Malta distinctive. It calls for a more thoughtful approach, one that prioritises the protection of both heritage and environment alongside progress.
Even after almost a decade, this digital manipulation challenges audiences to reflect on the island’s trajectory. It remains a call for consciousness about the fragility of the country’s identity in the face of relentless development.
