Death as Inspiration
Physicality
I texture my work with the ghost of dead creatures; relief moulds of their physical remains. The contemplative ritual of collecting, cleaning, and pressing shells and bones into soft clay is quite peaceful. There is such beauty in these organic forms. I find the (Western) societal perception of shells and their collection in particular quite fascinating. They are seen as feminine tokens of summer and beach holidays. Did we forget they once contained a living animal? Is it an honour or a denigration to display shells in a vacation home, or to use their textures in art?
Perhaps the answer is in the intent.
I use these oceanic forms because in the context of pottery, they evoke ancientness, giving the sense that these objects have been submerged for decades. Rather than recreate a realistic barnacle crust, I treat the shell forms and clay surface as one, glazing them alike. My body of work may be seen as artefacts of an imagined, ancient oceanic religion. The shell textures embody my fascination with death and ritual, and allude to my Maltese heritage.
Honouring the Past
Part of my creative process involves researching my cultural background. In contemplating history, I became fascinated by legacy. What will become of me when I die? This led me to explore death as a phase of life, with memory the vessel by which it persists. I investigate how I’m shaped by what’s left behind, so that I might live my life with culturally grounded intention.
I use moulded textures of deceased animals in my art practice to honour their lives in the same way I channel my knowledge and feelings about Malta into my work to honour my heritage. Abstractly, my sculptures, made from lasting ceramic, may be considered graves and tombs for forms, feelings, and ideas that I refuse to let slide into oblivion.