valletta2018.org … · Web viewThe Maltese word after which this work is ... The decorative...

1. Xewka sculpture/installation by Aaron Bezzina. medium: wood, paint, plaster, cement; dimensions: 2.55 x1.50 x 05m; Year: 2017 2. A Riddle by Enriqu Tabone. medium: plexiglass; Free standing dimensions:17 cm x 19.5 cm; Year: 2017 3. Where flowers bloom so does hope by Enriqu Tabone. medium: plexiglass; dimensions: 23.5 cm x 15 cm x 13.5 cm; Year:2017 4. Intangible jewellery collection by Enriqu Tabone. medium: plexiglass; dimensions vary; Year: 2017 5. Gnbi by Enriqu Tabone. medium: plexiglass; Free standing dimensions:54 cm x 12.5 cm; Year: 2017 6. Go,go,go by Enriqu Tabone .medium: plexiglass ; Free standing dimensions: 63 cm x 22 cm; Year: 2017 7. Bathing in the River by John Vic Borg. medium: oil on canvas; dimensions:78 cm x 98 cm; Year: 2017 8. Intrigued by John Vic Borg. medium: oil on canvas; dimensions: 40 cm x 50 cm; Year: 2017 9. Monastery Mountain by John Vic Borg. medium: oil on canvas; dimensions:68 cm x 98 cm; Year: 2017 10. The Falls by John Vic Borg. medium: oil on canvas; dimensions: 98 cm x 68 cm; Year: 2017 11. Village Life by John Vic Borg. medium: oil on canvas; dimensions:78 cm x 98 cm; Year: 2017 12. Day by the Lake by John Vic Borg. medium: oil on canvas; dimensions:78 cm x 98 cm; Year: 2017 13. Guizhou 1 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017 14. Guizhou 2 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017 15. Guizhou 3 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017 16. Guizhou 4 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017 17. Guizhou 5 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017 18. Beautiful Girl of Guizhou by Stephen Grima. medium: ink on cartridge paper; dimensions: 40 cm x 50 cm; Year: 2017 19. Blessing from the Gods by Stephen Grima. medium: ink on cartridge paper; dimensions: 40 cm x 50 cm ; Year: 2017 20. Chinese Girl by Stephen Grima. medium: acrylic on wood; dimensions: 35 cm x 135cm; Year: 2017 21. Chinese Girls by Stephen Grima. medium: acrylic on wood; dimensions: 35 cm x 135 cm ; Year: 2017 22. Dragon Boat by Stephen Grima. medium: mixed media; dimensions: 165 cm x 75 cm; Year: 2017 23. Golden Pheasant- Legend meets reality by Stephen Grima. medium oil on canvas; dimensions: 70 cm x 110 cm; Year: 2017

Inspired in China Fine Art Exhibition by Maltese Artists 2017 -2018 Full List of Artworks (44)

Inspired in China Fine Art Exhibition by Maltese Artists 2017 -2018 Full List of Artworks (44)

24. Life Totem by Stephen Grima. medium: mixed Media on wood; dimensions: 60 cm x 130 cm; Year: 2017 25. Miao Traditions by Stephen Grima: medium oil on canvas 110 cm x 100 cm; Year: 2017 26. Mount Fanjing- stairway to heaven by Stephen Grima. medium: mixed media; dimensions: 60 cm x 80 cm; Year: 2017 27. Ode to the Beautiful Sun of Guizhou by Stephen Grima. medium: ink on cartridge paper; dimensions: 50 cm x 40 cm; Year: 2017 28. Outside the cage by Stephen Grima. medium: mixed media on wood; dimensions: 110 cm x 34 cm; Year: 2017 29. Painted Woods - Totems 2 by Stephen Grima. medium: oil on wood carving; Year: 2017 30. Self-Comfort by Stephen Grima. medium: mixed media; dimensions: 60 cm x 80 cm; Year: 2017 31. The Seven Arches by Stephen Grima. medium: oil on canvas; dimensions: 110 cm x 100 cm; Year: 2017

32. Miao Girl by John Vic Borg. medium: oil on canvas; dimensions;60 cm x 80 cm; Year: 2017

33. Guizhou 6 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017



36. Guizhou 9 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017 37. Guizhou 10 by Matthew Mirabelli. photographic prints; dimensions: 40 cm x 50 cm; Year: 2017


39. Pure water coming down from the mountains by Stephen Grima. pen and ink on cartridge paper 40cm x50 cm; Year: 2017 40. Carsic 1 by Stephen Grima. pen and ink on cartridge paper 40cm x50 cm; Year: 2017 41. Carsic 2 by Stephen Grima. pen and ink on cartridge paper 40cm x50 cm; Year: 2017 42. Peasant by Stephen Grima. pen and ink on cartridge paper 40cm x50 cm; Year: 2017 43. Head by Stephen Grima. pen and ink on cartridge paper 40cm x50 cm; Year: 2017 44. Earth wood and Art by Stephen Grima. limestone, oils on carved wood & mixed media on canvas 170x40x20cm; Year: 2017

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Artist`s Concept - Inspired in China

Aaron Bezzina - Inspired in China 2017-2018

#1

Aaron Bezzina

Xewka

2.55m (L) x 1.50m (H) x 05 m (W)

Wood, plaster, paint, string, textile, steel and duct-tape

sculpture installation

The Maltese word after which this work is titled for has two distinct meanings. On one hand it could refer to athorn, a sharp and pointed appendage coming out of the branch of a plant. It also translates tospine, as in backbone, which could reflect the works skeletal qualities. The initial intent forXewkawas to simulate an organic form, more specifically that of a stalagmite, however, the process dictated that the underlying structure ought to be visible as if to suggest something that is unfinished or unfulfilled. This notion emerged from observations of mans attempts to simulate naturalistic formations to create the illusion of ones power over nature. As the object lies horizontally upon stilts, it resembles a reclining figure rather than standing erect and phallic.

Enriqu Tabone - Inspired in China 2017-2018

#2

Enriqu Tabone

Riddle

I am grown from darkness but shine with a pale light. Who am I?

Plexiglass

Free standing, 17cm x 19.5 cm

My visit to Guizhou Province in the summer of 2017 through the China Cultural Centre was my first experience of visiting China. The colours of this wonderful country, and particularly those of the cities, towns and villages we visited in Guizhou struck me through their saturation and boldness. I was also impressed by the crisp lines in the architecture, both old and contemporary, as well as in a variety of natural habitats.

However, the visual element that captivated me most enchantingly was the play of

natural light during the day and that of electric lights after sundown.

Light and nature come together in the first of my two works. Red is a most auspicious colour in Chinese culture. It is a bold choice but one I make gladly, particularly for A Riddle and Where Flowers Bloom So Does Hope. Both pieces show my interest in working with translucent materials while exploring shapes from nature. The decorative perspective of these works echoes similar artefacts I saw across various parts of Guizhou.

Traditions are among the things that are likely to draw a visitors attention when visiting countries like China where elements of intangible cultural heritage are deeply embedded in everyday life. Proverbs and ancestral sayings are among these. One that holds special resonance for me is the seemingly contradictory belief that there are no ugly women, just lazy ones. The wearable art collection (jewellery) Intangible stems from my encounters with the traditional aspects that are kept alive through modern-day use rather than merely displayed in sterile museum cases or paraded in tourist productions.

My other two pieces Gnbi and Go Go Go come about from the generous hospitality we were offered as visiting guests, especially to sooth us after climbing seemingly never-ending flights of stairs visiting caves, mountains and other spectacular places. The sense of speed embedded in our whizzing about from one site to the next to fit in a packed itinerary designed to make the best of our few days in Guizhou. As in most other cultures, drinking is a social leveller that bonds human beings together when exclaiming cheers, nasdarovie, evviva or ganbei.

A particular drinking game involving seven fountains informs the awkward-to-handle dimensions of this piece. It can also be seen as a fragile large libation receptacle, capable of precarious balance. The multi-layered design brings the spirit of Antonio Sciortinos Speed to my own interpretation of being on the go without affording enough time to dwell on anything for too long. This is also a way to capture the centrality of impermanence, a cornerstone in Buddhist faith which is frequently

encountered across Guizhou, sometimes in the most unlikely place.

#3

Enriqu Tabone

Where flowers bloom so does hope

Plexiglass

Free standing

23.5 cm x 15cm 13.5 cm (interactive)

#4

Enriqu Tabone

Intangible

There are no ugly women, only lazy ones Chinese Friend

Plexiglass

Different sizes Jewellery collection

# 5

Enriqu Tabone

gnbi

Plexiglass

Free standing, 54cm x 12.5cm

#6

Enriqu Tabone

go, go, go

Plexiglass

Size: Free standing, 63cm x 22 cm

John Vic Borg - Inspired in China 2017-2018

#7

John Vic Borg

Bathing in the river

Tian Long Tun Pu village

Oil on Canvas

78 x 98 cm

China is a vast and beautiful country where the landscape is wild, magical and mysterious. The land is covered in different shades of green. Luscious trees, bushes, plants and grass cover the entire landscape giving the country a sense of inner peace and tranquillity under a blanket. Climbing the grand conical mountains left me breathless.

The majestic waterfalls give the surrounding scenery a sense of freshness and a new beginning. The small but humble villages reminded me of my childhood where innocent children as in the Basha Miao village captured my heart so much that I could not with hold the experience, the nostalgic memories and inspired I translated them on to canvas.

These overwhelming natural feelings, emotions and sensations stimulated and inspired me to paint and express myself to share my wonderful experiences with a larger audience through my art.

# 8

John Vic Borg

Intrigued

BaSha Miao village in Cong Jiang County

Oil on canvas

40 cm x 50 cm unframed (framed 50x60 cm)

#9

John Vic Borg

Monastery mountain

Fan Jang mountain in Tong Ren city

Oil on canvas

68 x 98 cm

#10

John Vic Borg

The Falls

Huang Guoshu waterfall

Oil on canvas

98 x 68cm

#11

John Vic Borg

Village Life

oil on canvas

78 cm x 98 cm

#12

John Vic Borg

Day by the Lake

oil on canvas

78 cm x 98 cm

#32

John Vic Borg

Miao Girl

oil on canvas

60cm x 80 cm

Matthew Mirabelli - Inspired in China 2017-2018

#13

Matthew Mirabelli

Guizhou 1

Photographic prints 40 cm x 50 cm

Magical Guizhou

Dragons, lanterns, countless steps, rice fields, tea in abundance, jade walled towns and quaint villages bring memories of China but Guizhou is all this and much more. It is a karst landscape, sedimentary rock eroded, dented, riddled with holes and vast caves formed by underground mighty rivers. The landscape is quaint and strange with conical mountains and hills covered by luscious vegetation as far as the eye can see. The mountains look like volcanos but without carters or lava flows. Fanjing Mountain at 2,572 metres might have been a bit cooler but it was no break from a subtropical heat: damp stifling and exhausting. An initial cable-car ride exhilarating, exciting, spectacular and overwhelming only reached to a wide shelf on the mountain. Another climb of over two thousand steps only took us to a peak. What greeted us was an amazing panorama of the surrounding mountains and a higher peak above our head. The sun occasionally flitted from behind the clouds gilding the peaks interrupted by intermittent patches of mist engulfing the surrounding hills. Smells of burning incense filled the air and the atmosphere in the interior of a solitary Buddhist monastery stimulated our emotions into an intense catharsis. We crossed the Wuyang River, which meanders through the centre of Zhenyuan town and noticed Chinese lanterns hanging from nearly every building along the rivers edge in what seemed like a quiet town. However, when we returned in the evening the town was transformed into a LED heaven with different coloured lights in swinging lanterns. Sculpted dragons on eaves silhouetted in the half-light added to the magical and mystic atmosphere while people made merry sitting and dancing in bars or dined on the waters edge. It looked like the Grand Canal in Venice but the village seemed under a two-faceted spell: two personalities metamorphosed from a quiet shy village during the day to an extroverted enchanted pleasure enclave in the evening.

#14

Matthew Mirabelli

Guizhou 2

photographic prints 40 cm x 50 cm

#15

Matthew Mirabelli

Guizhou 3


#16

Matthew Mirabelli

Guizhou 4


#17

Matthew Mirabelli

Guizhou 5


#33

Matthew Mirabelli

Guizhou 6


#34

Matthew Mirabelli

Guizhou 7


#35

Matthew Mirabelli

Guizhou 8


#36

Matthew Mirabelli

Guizhou 9


#37

Matthew Mirabelli

Guizhou 10


#38

Matthew Mirabelli

Guizhou 11


Stephen Grima Inspired in China 2017-2018

#18

Stephen Grima

Beautiful Girl of Guizhou

ink on cartridge paper 40 cm x 50 cm

A visual, spiritual and emotional journey through the legends, cultural heritage and natural wonders of Guizhou province China

The trip to Guizhou province in China was a visual, spiritual and emotional Journey. An explosion of colours, sounds and tastes. A feast of emotions. I saw and experienced so much that my senses were overloaded with information. My thoughts needed to be sorted out, processed and elaborated on before I could produce any art work. Although I produced a variety of sketches on sight, artistically speaking I was lost and could not function as I usually do. It took me almost two weeks before I regrouped my thoughts and started painting again.

My Art work was created using different mediums and techniques and is totally subjective to my personal, intellectual and emotional processing. When working I try to see beyond the mere visual aspect of the subject matter but still be faithful and authentic to the way I experienced the subject matter. A painting is like a condensed summary or collage of personal and emotional experiences.

Looking back at the experience in China, everything seems to be so remote and surreal, detached from reality, almost like a dream. My two paintings The Seven Arches and Miao Minority Intangible Cultural Heritage customs and traditions are both an example of this dreamy feeling. The use of subtle, light pastel colours over a white background try to achieve this sense of dreamy lightness almost idealising the subject matter.

In the painting The Seven Arches the Girl pouring flowers over the water is a metaphor representing the generosity and kindness of the Chinese people. The flowers and water which in China are so abbundant represent purity and life. Infact the mountainous in Guizhou province are bursting with lush flora and fauna.

The Miao Minority Intangible Cultural Heritage painting is a tribute to the Miao Minority which is the predominant minority ethnic group in this region. On our journey to discover Guizhou we have been to a number of villages, but the one which struck me most was the Basha Miao Village. We assisted to a ceremony showing a typical Miao wedding. We also had time to roam around the village and watch the villagers carryout their normal everyday choirs. An old woman also invited us in her house and we could appreciate her simple, traditional way of life. The Miao Culture makes them self-sufficient, they live off the land and its produce. They grow various crops but predominant is the rice production. Rice is at the base of their echo sustainable life style. The rice is used to prepare all sort of foods and beverages and it is also fed to the buffalos, goats, pigs and chickens. In turn these animals fertilize the land with their manure and provide meat for human consumption, forming part of this complete echo sustainable cycle of life. While on this tour we also saw this magnificent rainbow in the valley beneath us, a truly spectacular scene. Truly a sign of divine approval!

Other paintings have a strong outline, bold colours and found objects

Mount Fanjing- Stairway to heaven is a tribute to the natural wonders of China. This painting is a mixed media incorporating three dimensional found objects. The painting was created around a piece of rock which was actually found on site and used for the base of the mushroom rock adding to the authenticity of the painting. Pieces of wood and Chinese pottery have been used in the foreground to complement the three dimensionality of the work.

On top of this mountain at an altitude of 2572 metres above sea level time seems to stop, everything seems still and pure. It feels like a corner of heaven. One could find inner peace, serenity and freedom in the mind and the spirit. This sense of peace, purity and freedom was represented in the painting by the birds paper cut outs.

Similarly in the Painting Outside the cage, I used pieces of fabric. The dark blue fabric under the right arm of the girl has been produced using the Chinese traditional Batik technique while I was in china. This work shows a girl with her hand stretched towards the future with a bird resting delicately on top of it. The closed cage over a deep red background represents the Chinese struggles of the past. This painting is a metaphor for the Chinese aspiration for a bright new future of freedom and prosperity.

Painted Woods . Wood is embedded in the heart of the Miao Culture. It is used in any imaginable way, for constructing houses, masks, totem poles, boats, tool, utensils, etc. It is also custom that when a child is born, trees are planted. When the same child eventually grows up and dies the largest of these trees will be cut down by his family, usually his son and its wood used to produce the coffin in which he will be buried. In so doing the soul of the deceased could rest in peace. This important resource i.e. wood, inspired me to produce the series of Chinese Girls on wooden planks and Masks/ Painted Totems. The painting has been adopted to complement the natural vain of the wood accentuating and respecting its embed features. For example in the Chinese Girls the knots naturally occurring in the plank have been used for the eyes and the mouth of the girls. The Painted Totems are painted in bold and vibrant colours representing the soul of the tree and the spirit of the person which it embodies. Although painted one still can feel the coarse grainy wood underneath the pigment.

The spirit by which I embarked on this journey was one of curiosity and discovery. Similarly my work involves a sense of experimentation and exploration with different mediums and techniques.

Some works have bold outlines, strong colours and found objects, other works are light and dreamy. Some works are on canvas, and others carved in wood or moulded in clay or plaster.

My work is as varied and colourful as china itself in its diversity, contradictions, man-made and natural wonders, and ingenuity.

#19

Stephen Grima

Blessing from the Gods

ink on cartridge paper 40 cm x 50 cm

#20

Stephen Grima

Chinese Girl

acrylic on wood

35 cm x 135cm

#21

Stephen Grima

Chinese Girls

acrylic on wood

35 cm x 135 cm

#22

Stephen Grima

Dragon Boat

mixed media

165 cm x 75 cm

#23

Stephen Grima

Golden Pheasant- Legend meets reality

oil on canvas

70 cm x 110 cm

#24

Stephen Grima

Life Totem

mixed Media on wood

60 cm x 130 cm

#25

Stephen Grima

Miao Traditions

oil on canvas

110 cm x 100 cm

#26

Stephen Grima

Mount Fanjing- stairway to heaven

mixed media

60 cm x 80 cm

#27

Stephen Grima

Ode to the Beautiful Sun of Guizhou

ink on cartridge paper

50 cm x 40 cm

#28

Stephen Grima

Outside the cage

mixed media on wood

110 cm x 34 cm

#29

Stephen Grima

Painted Woods - Totems 2

oil on wood carving

#30

Stephen Grima

Self-Comfort

mixed media

60 cm x 80 cm

#31

Stephen Grima

The Seven Arches

oil on canvas

110 cm x 100 cm

#39

Stephen Grima

Pure water coming down from the mountains

pen and ink on cartridge paper 40cm x50 cm

#40

Stephen Grima

Carsic 1

ink on cartridge paper 40x50cm

# 41

Stephen Grima

Carsic 2

ink on cartridge paper 40x50cm

# 42

Stephen Grima

Peasant

pen and ink on cartridge paper 50x40cm 2017

# 43

Stephen Grima

Head

mixed Media over concrete block

30x30x15cm

# 44

Stephen Grima

Earth, Wood and Art stone painted carved woods and mixed media on canvas

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