After last year's successful joint ceramics exhibition by Maltese and Cypriot artists at the Ministry for Tourism and Culture, the Maltese group of ceramists are now participating in another joint exhibition at the Heliotropio gallery in Larnaca.
The main aim of this exhibition is to bring together established ceramists from the two countries, to focus on the artwork and its production, form new relationships, gain new knowledge and start new discourse and collaboration. Undoubtedly this experience of bringing together these artists gave them the opportunity to share a number of fundamental interests in the art of ceramics and to find their way into their respective work - memory, history, a love of commonplace objects, and a way of working that allows process and improvisation to effect concept and form.
In this motivating art show the level of the quality of the artworks is very high, and one can identify innovation and new themes. For example the idea of creating a "constructivist" approach to sculpture in clay is evident in some of the exhibits. Valerio Schembri, who is an architect by profession, is presenting three remarkable abstract pieces showing a multi-linear construction. It seems that artists today are in constant search to explore new forms through the dynamics of sculptural space rather than the immobility of mass. Charles Sammut is showing two free-standing stoneware sculptures and a wall plaque entitled Red Spot. In recent years his robust sculpture seems to have become more simple and minimalist. Striking is his totem-like structure executed in a monumental form which has an abstract sculptural presence.
It seems that today ceramic artists are working more on abstract forms. An excellent example is the work of well-known ceramic artist Paul Haber's "untitled" wall plaques which show his great technical skill in the handling of the materials. Sue Mifsud is also contributing with three abstract painting-like plaques entitled: Behind the Sun, Spirit, and Cutting, which confirm that the artist is in constant search for organic shapes. Mario Sammut's interest is predominantly abstract with particular emphasis on the forms created through different combinations of definite lines. He is showing three free-standing sculptures: a figure emerging from the earth in monochromatic dark glaze, a spherical structure and a piece entitled Cosmos composed of rectangular formation with a central circular image embossed in clay. Three abstract ceramic wall plaques by George Muscat reveal the emotive forces found in nature. His work depicts the intrinsic values of design in nature.
An interesting wall plaque entitled Stone Spirit represents a cocooned female figure in the centre of a decorated niche which demonstrates Julie Apap's never-ending love for the Maltese prehistoric culture. The artist is also exhibiting other ceramic pieces which are easily identified as her work through the use of subtly coloured glazes. Neville Ferry's use of strongly heavy earthenware indicates that he is still greatly inspired by prehistory. His Temple Vessel will probably remain an important feature of his repertoire.
It is interesting to note that Sina Farrugia Micallef is now experimenting also with monochromatic matt glazes. For this event she created an unusual sculpture entitled Family, and two other abstract ceramic sculptures. Ms Farrugia Micallef continuously explores various shapes and new methods of firing clay.
Anne Van Den Bossche's Primitive Face reminds us of an ancient image of South American religious rituals of the indigenous people. Typical of Kenneth Grima are his three mythic vessels distinct from other works by other artists. His inspiration comes from the play of oriental forms and natural elements. The work of Raymond Abela, Ferragosto, depicts bright rectangular shapes, sailing boats, the sun and the sky symbolising the blazing heat of the summer months in Malta while Pia Magro is displaying her usual finely textured hanging plate.
Exceptionally praiseworthy are the three sculptures of female figures by Antoine Paul Camilleri. It seems that he is still attracted by the human form and he successfully produced elegant, slender nude figures in unusual poses finely decorated with shiny glazes.
The Maltese ceramists' organisers are Charles Sammut and Mario Sammut and from the Cypriot side Vassos Demetriou and Efthymios Symeou. The official sponsor of the Maltese ceramists is Emirates Airlines. It is the intention of the organisers that in the coming years other artists from neighbouring countries like Sicily and Crete will be included in other exhibitions of this kind and hopefully it will become an annual event. One must stress that there should be some kind of funding by the country's cultural administrators to assist the artist when representing Malta in occasions like this. Unfortunately only the selected few benefit from such resources.
• The exhibition runs until the end of July.
The main aim of this exhibition is to bring together established ceramists from the two countries, to focus on the artwork and its production, form new relationships, gain new knowledge and start new discourse and collaboration. Undoubtedly this experience of bringing together these artists gave them the opportunity to share a number of fundamental interests in the art of ceramics and to find their way into their respective work - memory, history, a love of commonplace objects, and a way of working that allows process and improvisation to effect concept and form.
In this motivating art show the level of the quality of the artworks is very high, and one can identify innovation and new themes. For example the idea of creating a "constructivist" approach to sculpture in clay is evident in some of the exhibits. Valerio Schembri, who is an architect by profession, is presenting three remarkable abstract pieces showing a multi-linear construction. It seems that artists today are in constant search to explore new forms through the dynamics of sculptural space rather than the immobility of mass. Charles Sammut is showing two free-standing stoneware sculptures and a wall plaque entitled Red Spot. In recent years his robust sculpture seems to have become more simple and minimalist. Striking is his totem-like structure executed in a monumental form which has an abstract sculptural presence.
It seems that today ceramic artists are working more on abstract forms. An excellent example is the work of well-known ceramic artist Paul Haber's "untitled" wall plaques which show his great technical skill in the handling of the materials. Sue Mifsud is also contributing with three abstract painting-like plaques entitled: Behind the Sun, Spirit, and Cutting, which confirm that the artist is in constant search for organic shapes. Mario Sammut's interest is predominantly abstract with particular emphasis on the forms created through different combinations of definite lines. He is showing three free-standing sculptures: a figure emerging from the earth in monochromatic dark glaze, a spherical structure and a piece entitled Cosmos composed of rectangular formation with a central circular image embossed in clay. Three abstract ceramic wall plaques by George Muscat reveal the emotive forces found in nature. His work depicts the intrinsic values of design in nature.
An interesting wall plaque entitled Stone Spirit represents a cocooned female figure in the centre of a decorated niche which demonstrates Julie Apap's never-ending love for the Maltese prehistoric culture. The artist is also exhibiting other ceramic pieces which are easily identified as her work through the use of subtly coloured glazes. Neville Ferry's use of strongly heavy earthenware indicates that he is still greatly inspired by prehistory. His Temple Vessel will probably remain an important feature of his repertoire.
It is interesting to note that Sina Farrugia Micallef is now experimenting also with monochromatic matt glazes. For this event she created an unusual sculpture entitled Family, and two other abstract ceramic sculptures. Ms Farrugia Micallef continuously explores various shapes and new methods of firing clay.
Anne Van Den Bossche's Primitive Face reminds us of an ancient image of South American religious rituals of the indigenous people. Typical of Kenneth Grima are his three mythic vessels distinct from other works by other artists. His inspiration comes from the play of oriental forms and natural elements. The work of Raymond Abela, Ferragosto, depicts bright rectangular shapes, sailing boats, the sun and the sky symbolising the blazing heat of the summer months in Malta while Pia Magro is displaying her usual finely textured hanging plate.
Exceptionally praiseworthy are the three sculptures of female figures by Antoine Paul Camilleri. It seems that he is still attracted by the human form and he successfully produced elegant, slender nude figures in unusual poses finely decorated with shiny glazes.
The Maltese ceramists' organisers are Charles Sammut and Mario Sammut and from the Cypriot side Vassos Demetriou and Efthymios Symeou. The official sponsor of the Maltese ceramists is Emirates Airlines. It is the intention of the organisers that in the coming years other artists from neighbouring countries like Sicily and Crete will be included in other exhibitions of this kind and hopefully it will become an annual event. One must stress that there should be some kind of funding by the country's cultural administrators to assist the artist when representing Malta in occasions like this. Unfortunately only the selected few benefit from such resources.
• The exhibition runs until the end of July.