Tucked away in a side road off Sliema’s Rudolph Street is a cosy little art studio which Richard Saliba keeps.
Stepping inside, the colour hits you, then the eye rests on the paintings waiting to be finished, the stacked canvases, the pots brimming with utensils, the used tubes of pigment and topping it all, that gorgeous smell of oils, varnish and ink.
Richard could almost be considered a veteran Maltese artist, having already been active on the scene for a few decades. He is one of the very first artists whose work I became familiar with as well as one of the artists whose work I have grown to recognise in a split second. He has a very particular style, one which often verges on the hard edge, but which nonetheless possesses a softness and a delicacy which match his temperament and demeanour. Although his work may be considered somewhat idyllic and postcard-perfect, it is also very nostalgic. Richard captures a moment in the past. He captures an image which he refuses to let go of, he captures a sensation which he carries with him throughout his life.
My idea of Maltese modern art was Richard’s work. I grew up with his paintings at home – two huge (by a child’s standards) paintings, depicting one land- and one city-scape. I remember being fascinated by their colours; one work having a predominantly purple/ blue palette, while the other was essentially made up of different shades of green.
I visited his studio for a little preview of the work he will be exhibiting next week at the Italian Cultural Institute. The idea of writing an article was far from my mind at that point – I was rather curious to see how the typical Richard-Saliba mode of painting was translated into printmaking. Happily, I couldn’t have been more surprised.
Richard’s etchings and aqua-tints, although undeniably injected with his imprint, speak a very different language to his better-known landscapes. The limited chromatic palette, the delineated abstract and figurative forms, the variety of surfaces used to create different textures within the prints are all qualities which distinguish these works – whether they belong to the 1980s or whether they were printed just a few weeks ago.
The last time Richard exhibited a series of etchings and aquatints was in 1998, when he presented a collection of abstract works at the National Museum of Fine Arts.
I ask him how come he has decided to revisit the printing medium after so long and reintroduce this work again in public: “The fact is that printmaking is an extremely demanding medium that is tiring both physically and mentally since it requires great concentration in preparing a copper plate for eventual printing. The printing process is in itself a skill on its own.
“Since my last print exhibition in 1998 I concentrated on my painting and especially in the preparation for my exhibition of abstract work held at St James Cavalier in 2006. That exhibition, as you will no doubt recall, was exceptional not only in the quantity of work presented but also in the dimensions of the works themselves. The mediums of painting and printing are so diverse that it is not possible to work on both simultaneously.
“My decision to revisit the medium came at a time when I found myself in need to reflect on the painting that I was doing. I needed time to consider how I could discover new avenues for the future. This gave me an opportunity to concentrate more on printmaking.”
Since his debut on the scene in 1975, I ask Richard what he feels have been the most considerable changes he has witnessed in this environment.
“It is clear that people are nowadays more open to ideas that emanate from sources outside the island through the media.
“People are also travelling more and seeing what is being produced abroad. Large cities abroad are always replete with quality exhibitions throughout the year and this clearly is of great benefit to our artists. This is in fact reflected in the work of a number of both established and emerging artists whose work relate to contemporary issues.”
Maltese artists often struggle to exhibit their work and find the right support and backing necessary to set up events; so I ask Richard what changes he hopes to see in Malta which could improve the present situation.
“Indeed, the dearth of suitable exhibition space is widely recognised. I, however, do not subscribe to the complaints usually made that the state should perforce provide this... corporate entities also have the social obligation to offer artists exhibition space. A case in point is the space and the support being provided by Bank of Valletta.”
Highly prolific, Richard is, above all, a very genuine and humble man. Always open to criticism and to a healthy banter, he is truly a rare breed of man, and artist. It’s true that Malta needs to take better care of and create a platform for the young and upcoming, yet there is much to learn from artists like Richard Saliba who has truly seen the times change.
www.richardsaliba.com
• The exhibition, titled Richard Saliba: Etchings and Aquatints 1975-2010 will be showing at the Italian Cultural Institute, St George’s Square, Valletta. The exhibition opens on November 5 and runs till November 24. Opening hours: Monday to Wednesday between 9 a.m. and 1.30 p.m. and between 2.15 and 5 p.m.; Tuesday between 9 a.m. and 1.30 p.m. and between 2.15 and 7 p.m. and Friday between 9 a.m. and 2.15 p.m.