I don’t enjoy collectives... generally.

In fact, I am somewhat disinclined to viewing any exhibition showcasing works of let’s say, more than five or perhaps seven artists. And this is often because the standards vary – considerably, if not drastically at times.

Also, collective exhibitions in Malta tend to be a mishmash or hotchpotch – a quasi bazaar of sorts – where artists contribute one or more pieces to a “cause”. But they often do so blindly: there is rarely a common theme, subject or concept binding the works. And what exacerbates the matter is the consistent lack of venues which can cater for a large number of artworks in a variety of mediums.

And that is why Women In Art: A Collector’s Perspective is an altogether different kettle of fish. Rather, it is an experience; one to write home about.

The subtitle of this show also sets the kind of standard which viewers should have come to expect from Joseph Simon Gauci – a man who has successfully expanded his framing and art consultancy business known as The Picture House to incorporate So Galerie.

When the gallery opened, in May 2010, I was at first sceptical of the location – Iklin isn’t exactly a hub of artistic activity – however, during the couple of hours I spent there on my last visit, I was impressed by the steady flow of people coming, going, browsing and... buying.

Yet, purchases do not necessarily equal success. And with as many as 60 artworks on show by no less than 18 artists, there was much that could have “gone wrong” in this exhibition. But, it didn’t.

Save a couple of works (literally) which I felt were a tad too “traditional” or commercial for this exhibition – standards and quality was remarkably maintained throughout.

There is a more-than-healthy mix of works by foreign and Maltese artists alike and mediums vary from bronze, ceramics, paintings, photography, mixed media works and, most interestingly, furniture design (collaborative pieces by Picture House and David Pisani). Although individual styles couldn’t be more different, there is still a flow of line and colour.

Mr Gauci did well to disperse and scatter the works throughout the gallery space (and beyond) and to do away with more obvious chronological or individual artist groupings. The latter “method” was only utilised in the few instances in which works are related in genre and series, such as those by Beppe Mora or Oksana Veber.

Out of the entire collection, particular works and artists to look at are the sexually-charged tongue-in-cheek paintings by hyperrealist Roland Delcol; a photographic narrative of a cross-dresser’s transformation by Celine O’Donnel; David Pisani’s “peep show” photographs; Beppe Mora’s crude linear drawings; Liliana Fleri Soler’s elongated bronzes and Matilde Montanari’s headless pubescent girls.

So Galerie’s first show last year (A Sight to Sea: Coastal Recollections, works by David Pisani) was quite impeccably curated. That is not to say otherwise of this exhibition, but Mr Gauci took a bold risk in combining “traditional” methods of gallery display with those generally associated with home or interior decoration. Thus, there are ceramics, sculptures and paintings dotted around the first and second floors, with quite a few pieces even found in Mr Gauci’s upstairs living quarters. However, the placing, spacing and general exhibition set-up allows for a level of “intimacy” whereby visitors might be more inclined to engage with the artwork rather than simply revere it.

I especially loved the decision to place two of the works in the gallery floor’s restroom – apparently Mr Gauci was inspired by Chris Briffa’s art space in Strait Street’s public convenience. Thus, the daring quirkiness as well as the collection’s eclecticism meshed with the clean and stylish lines of the gallery only helped win points in my books.

But restrooms apart, the exhibition apparently talks about beauty. Or at least that is as much as I have read insofar. Prof. Alessandro Liberto in his critical analysis in the exhibition catalogue discusses how “The innovative collection presented here is one of those extraordinary expressions of... feminine beauty”. Well, frankly I reject the idea that a discussion about the female form or women in art should automatically revolve around beauty – idiosyncratic or sublime. That is a discussion pertinent to all forms, genres and subjects in the visual arts. According to French phil-osopher Jean Rostand “Beauty in art is often nothing but ugliness subdued”.

The image I hold of a woman in art is one of immense power – that of Artemisia Gentileschi representing Judith caught in the act of severing the head of Holofernes.

A woman can play temptress, seductress or even the manipulator just as much as she can be motherly, delicate and pure; for this reason I find it is almost a disservice to simply place women under the broad “beauty” category. I find it is a woman’s equal amounts of strength and fragility that truly captures her “essence”.

Beauty is a thing of power – one which might have served as an all-important tool to many a great historic female figure throughout history. Yet, it is wise to bear in mind William Shakespeare’s words:

“Beauty’s a doubtful good, a glass, a flower,

Lost, faded, broken, dead within an hour;

And beauty, blemish’d once, for ever’s lost,

In spite of physic, painting, pain, and cost.”

• Women in Art: A Collector’s Perspective is showing at So Galerie, Triq Dun Karm, Iklin till March 2. Opening hours: Monday to Friday between 10 a.m. and 2 p.m. and 4 p.m. till 6 p.m. and Saturdays from 10 a.m. till 1 p.m.

www.sogalerie.com

Featured artists

Andrew Diacono
Antoine Camilleri
Antoine Paul Camilleri
Ashot Asatrian
Beppe Mora
Celine O’Donnel
David Pisani
Edvard Nikornov
Edward Caruana Dingli
Ignat Konstantinov
Liliana Fleri Soler
Matilde Montanari
Oksana Veber
Patrick Dalli
Pierre Giusti
Roland Delcol
Seyran Gasparyan
Vsej Tamazian