OmertaOmerta

A small gallery in Gozo is currently showcasing the new works by two of Malta’s most satirical and likeable artists – Andrew Diacono and Debbie Caruana Dingli.

This is the third joint exhibition between these two artists, whose first collaboration took place in 1989. The chemistry between them and their art works is clear and, since the artists’ works are interspersed in the gallery, this allows for a comparison to be easily drawn between the two. One can notice the manner in which each chooses to tackle a theme, the choice of frames, how humanity takes centre stage in both their oeuvres, the psychology of the figures portrayed and more.

Both Caruana Dingli’s and Diacono’s work is alluring, but there is so much more to it than meets the eye.

Both Caruana Dingli’s and Diacono’s work is alluring, but there is so much more to it than meets the eye

Caruana Dingli’s work is often humorous as is the case with the paintings currently on display, although she has shown us her more serious side in past exhibitions. She is best known as a water-colourist, but has in recent years established herself as equally competent at working in oil on canvas. Last year’s BOV 23rd retrospective exhibition dedicated to her works adequately displayed her ability in different media as well as genres.

TinderTinder

The havoc generated by Caruana Dingli’s paintings in the current exhibition are the result of a fresh influence on the artist. This is that of two 16th-century Venetian artists, Veronese and Titian, with whose work she became engrossed in after being given books on these masters. It is not only individual figures by Veronese and Titian that have inspired Caruana Dingli, but also the generally sombre palette, the use of chiaroscuro and the choice of the frameworks that beautifully complement each work.

What she has done, though, was place the themes in a contemporary social context and adapted them to cartoon-like figures, where the absurd takes centre stage. Hence, the presence of three plump, gossiping ladies in the foreground of Omertà.

Her themes are so up-to-date that a figure pouring wine in the foreground of Veronese’s massive Louvre Wedding at Cana was the source of influence for the man emptying a series of brides from a vessel who have to endure a precipitous fall as part of his rejection. It has been titled Tinder, an answer to one of today’s dating apps.

The painting that stands out is The Missing Egg, which is rather more minimalist and calm in its conception. Having no depth in its background, the mustard-yellow backdrop is home to two human figures, a chicken, a basket full of eggs, and an egg in the foreground that is being searched for.

Two of Caruana Dingli’s paintings form a diptych – Pamela and Venus 1 & 2 – deal with the ideal female type, wherein an average-looking woman is completely ignored by her male counterparts while, in the other panel, they ogle a nude female who garners all of their attention.

IconIcon

Diacono’s iconography is simpler than that of Caruana Dingli’s. His output is equally cerebral, although his art works lean towards simplicity and minimalism, with the focus being easily directed towards the protagonists. As a result, his works leave a lot of room for contemplation and his choice of palette, that is largely composed of cool and earthy tones, contributes to this disposition.

Femininity is, once again, predominant in Diacono’s works. His figures range from obese (usually men) to elegant and elongated (usually female) forms, with sensual and curvy females that may at times appear to be timid. These figures were never meant to portray reality as we know it, as are Caruana Dingli’s. Instead, they are unique to Diacono’s imagination, with which he has created his own reality.

The cartoon element in Diacono’s features most prominently in the gravity-defying terracotta sculpture titled Man on Hill. This stocky man balancing on tiny legs climbs a stump while pulling a rather full wheelbarrow behind him. His own heavy weight, the load he pulls along, as well as the steepness of the hill which he has almost successfully climbed, heightens his efforts and increases our admiration for him, while bearing in mind how hazardous this activity is.

The chemistry between them and their artworks is clear

Religion is also a theme Diacono has touched upon, particularly visible in Crucifixion, which is the most sober of all of his exhibits and where his figures take on gaunt forms.

Man on HillMan on Hill

A triptych is usually associated with a religious altarpiece, but Diacono’s Triptych refers mainly to the painting’s configuration on three panels that is usually associated with religious works. The portrayal is of seven faceless women, one of whom holds a child – a recurrent theme in Diacono’s oeuvre – playfully interacting with each other in the nude with windswept ponytails and a unifying, plain, yet agitated, backdrop.

Diacono’s Icon would also make one think of a religious context, although the lone kneeling, nude female portrayed confuses the viewer in a provoking sort of way.

When compared to each other, Diacono’s iconography is rather more subdued than that of Caruana Dingli. Yet, each work makes its presence clearly felt. Both work because they are each being true to their creative selves.

Round - 3 - is open at Art..e Gallery, Victoria, until June 4.

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