Wearing me down; wearing me out

First impressions count: Even when the “counting” tops number 365.

Days, weeks, months. Years roll by, yet each day should be as significant as the next and matter in the greater scheme of things.

Each passing day also seems a cause to don a different outfit, a different disguise, a different mask. And therein lies the importance of the first impression.

So when a young artist makes a debut on the scene – it is their self introduction – the work exhibited is what will remain impressed in the memories of the attending public.

And thus, Charlene Calleja, better known as Xaxa, is introducing herself. She has boldly chosen not to opt for a “traditional” show of work. In fact, although her medium might be painting, she has been wor king steadily for over a year in order to present an installation titled 365.

Showing at the Maritime Museum on the Vittoriosa Waterfront, Xaxa’s installation features 365 masks, one for each day of the year; one for each aspect of man and woman’s complex and multi-faceted personality.

Xaxa’s simple yet effective concept reminds me of a quote by American abstract expressionist Robert Motherwell: “Most painting in the European tradition was painting the mask. Modern art rejected all that. Our subject matter was the person behind the mask.” And this is precisely what Xaxa is offering her audience – a view of the person behind the mask.

The temporary exhibition space at the museum has been transformed by an imposing scaffolding structure which serves as backdrop to these many staring faces . The result is quite overwhelming, as masks have been placed at various heights and angles; they either recede into the background or emerge to the fore.

Watching the masks slowing turn upon themselves, strings of words, adjectives spring to mind: Cagey, insomniac , linguistic , devout, decadent, strategic, diabolic, hormonal... the list simply goes on. But if one listens closely, they also seem to murmur, whisper and speak in foreign tongues; the often blank faces seem to blink and come to life . In fact , it is easy to read the masks and identify with one, more , or many of the por - trayed personalities. And in doing this, Xaxa’s work is successful at reaching its goal.

Masks are often associated with primitivism, but there is nothing primitive about Xaxa’s work, save the materials chosen to “decorate” some of the masks which recall African prototypes. Others, however, are directly and distinctly influenced by Chinese and Japanese masks – undoubtedly a reference and influence to Xaxa’s master Jason Lu, under whose guidance she spent the last four years.

She has not held back from experimentation: Neither has she held back from using unconventional “materials”, if one may call dead bugs and insects materials, that is.

Despite the ambitious and successful concept, there is a downside to such a large number of works on exhibit. First of all, quality levels vary; on the other hand, however, some of the masks are so strong and commanding of such presence that I feel they deserve to stand alone. So much so, that even the artist felt the need to establish and create some form of “compartmentalised” space to enhance some of the masks’ importance.

Also, there seems to have been a problem posed by the limitation of the space vis-à-vis the large number of works: I felt that towards the end of the hall, the masks were hoarded together, almost as a last resort. Yet one must appreciate that the artist remained true to the concept. The force of the visual lies also in the cumulative effect.

What I particularly enjoyed was that the artist, in a separate section of the exhibition – somewhat secluded from the main installation – dedicated a space to the public . Here visitors can get a feel and interact directly with one of the “base” masks which Xaxa has used as surfaces for her own creations. Patrons can scribble and doodle “sweet nothings” and leave their mark. This is her alternative guest book – her way of sharing her creative process.

We all wear a mask , to some extent. But all too often masks wear us out , they wear us down . They become heavy; they assume faces which we never knew we had. Often, the mask morphs and slowly assumes the face of truth. Masks ultimately disguise man’s vulnerability.

Yet there is nothing wrong with wearing one’s heart on one’s sleeve. Or is there? At least Xaxa has been unafraid of exposing her often dark, inner self . And what more can a viewer want, than a true portrayal, a glimpse – or 365 glimpses – of the artist behind the creation?

“Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth.” (Oscar Wilde) ■ 365 runs at the Maritime Museum until October 22. A series of mask-making work-shops will be organised for schools in conjunction with the exhibition, between Mon day and October 22. Sponsored by the Malta Arts Fund, the workshops are being held at the Maritime Museum, or at the premises of partici pating schools.

Workshops will involve discussions about masks, their function and use in society as well as the recycling and re-use of objects. Children will also have the opportunity to create their own masks using recycled objects. There will also be mask-making sessions for children on Saturday and Sunday from 11 a.m. to 3p.m. Attendance is free of charge.