The
Heart of Glass
Walter
Vella is one of the few innovative Glass
Artists found in Malta. Equally well
known for being ETNIKA’s saxophone
player, and an accomplished jazz
musician, Walter spends most of his
evenings performing in different
locations, and his days in his art
studio creating timeless and totally
original glass sculptures, stained glass
motifs, graceful wall murals and hand
made unique pieces of jewellery.
Walter
Vella’s introduction to glass started
in the early 70’s when he enrolled as
an Apprentice Craftsman with a Glass
Factory set up in Malta by the Chinese
Government. Eventually he studied
etching and aquatint in Stockholm,
Sweden in 1979 where he was working as a
musician, and Design Management at
Kensington University in California in
1982. He held his first fused glass
exhibition called Hgejjeg at St. James
Cavalier’s Centre for Creativity in
Valletta between May and June 2004,
which was a great success. His pieces
were accompanied by poetry, adding a
fluid rhythm to his creative glass
compositions.
Here
Erika Brincat visits his art studio and
talks to him about his new collection of
fused glass, and his upcoming solo
exhibition at the Museum of Fine Arts in
Valletta.
Is there a common essence between playing the saxophone and creating
fused glass art?
“There’s
always a connection because of the level
of creativity. It is the same person
doing two things, so they do overlap.
For example in the piece called “Jazz
Neolithic” its vibrancy is coming from
that rhythmic sense that I have as a
musician. I try not to let the two art
forms confuse me however, because the
approach is different. ”
When did you decide Glass Art was to become a part of your ‘career’?
“I
decided that when I got fed up of being
the person in between the client and the
contractor in interior design, and I
wanted to go off on my own to do
something else. As I had some background
in glass, I tried my hand at doing
stained glass. I wanted it as part of my
interior design work, and it flowered,
or rather mushroomed, into what it is
today, as far as stained glass is
concerned.
The
fused glass started when I purchased a
kiln and I began to experiment on my own
about 10 years back at home. I have a
kiln at home and another one in my
commercial studio. The kiln I have here
is a manual kiln and it takes a 24 hr
process and you have to stay with it for
a full day. The new one I have is
computerised, you give it a program and
you leave it, so now my output is much
greater.
The
previous exhibition at St. James took me
5 years to do, while this one took me
one year. It was my first solo
exhibition in glass. Before that I
exhibited in collectives to see the
reaction of people. I gauged their
reactions and it was favourable. It gave
me the initiative to work on a solo
exhibition.”
Do you feel you tap into two different dimensions when playing an
instrument, and when creating glass
designs?
“Yes,
definitely. Playing music is more on a
spontaneous basis: it’s a ‘there and
then’ sort of thing. You think it now
and in a split second it’s gone. While
in glass it is more permanent. I do a
lot of improvisation in glass but it’s
a different type of improvisation. I’m
building up on ideas.”
Are
there any well-known glass artists who
have influenced you? Not much is known
about the History of Glass Art.
“The
History of Glass Art itself is coming
from the Greeks and the Romans. Even in
Punic times glass art was found.
Although it’s very fragile, they have
found even whole pieces of Roman glass.
After the War glass was elevated to the
artistic level in the late 40s. Before
it was regarded as a craft. Some of my
favourite glass artists are German:
Johannes Schreiter, as well as George
Meistermann and Ludwig Schaffrath have
all inspired me in one way or
another.”
What
kind of themes, cultures, myths and
legends inspire you most?
“My
travels do help a lot. Nature and the
environment are also themes, which I use
regularly. Plus at the moment I am very
much into the culture of the Mother
Goddess. Also African Tribal Art, and
Neolithic Culture - ours, and
European.”
Do
you enjoy incorporating Maltese Temple
Designs & Mythology into your work?
“Temple
designs, definitely. With regards
Mythology, as such I do not base the
work on that but I do borrow a lot from
cult symbology: the spirals, standing
stones, the altar, and prehistoric
creatures. The sea also inspires me a
lot, our underwater world and its sea
creatures.”
Are you equally inspired by traditional sacred art, especially for your
stained glass pieces?
“I
have one new fused piece which is a
Crucifixion. All religion is to some
extent quite powerful on the mind,
whether it is Buddhism, Hinduism or
Christianity. The symbols are very
powerful and I use them. In the stained
glass I use it a lot too, but those are
commissions. The stained glass work is
more restrictive. I am restricted by my
client’s desires and the actual medium
itself. It’s not a soft glass
technique but leaded glass, which is
quite rigid, and keeps you from being
too fluid. Whilst with the fused glass I
can mould it and bend it, and transform
it into anything I want. And the subject
matter is also very personal. So I can
express my self more with the fused
glass.”
Which
work is the most laborious: the small
detailed pieces, or large glass murals?
“It’s
not a question of size. It’s a
question of what I want the result to
be. In some cases the results come
easily. With others it takes a lot of
trial and error. I try to take the glass
to its limits and I never use the same
formula more than once so each time I am
experimenting with the medium all along,
and it takes me to another dimension
every time. It takes me somewhere else
where I don’t even know what will
happen. A large glass mural will not be
as detailed because otherwise it will
cost a tremendous amount. The kiln can
be a bit temperamental! With each firing
I have to adjust my self to it each
time. With a big piece which involves
more firings, you will have certain
problems you don’t have with a smaller
piece.”
What
kind of items can we find in your
jewellery collection?
“My
pieces are very individualistic. Each
one is an original. I do pendants, and
the special thing about them is that
each is a unique piece. You never find
two the same. For the summer I come out
with a collection of bright colours –
orange, turquoise, pinks - whatever is
in fashion, and in winter I concentrate
more on gold, blacks and metallic
colours. The collection as a whole is
called KOMODO after the Indonesian
dragon.”
Are they all meant for women or do some of them also have strong
masculine elements in their design?
“Once
as a member of ETNIKA we played and
collaborated with a Welsh band called
The Rag Foundation, and they wanted to
see my glass to take some pieces home
with them. Everyone was buying jewellery
for their girlfriends, their mother etc.
but one of them wanted a pendant for
himself. So I realised that men can also
wear them. The black, red and bold ones
are the most suitable for men.”
Tell us about your next solo exhibition. How many new sculptures have
you created recently and is there a
connecting concept throughout?
“It
will be held at The Museum of Fine Arts
between the 5th of April and
the 2nd of May. Its not going
to be based on one theme although I have
a series called Life Totems. The whole
exhibition is going to incorporate about
35 pieces from a pool of about 45, using
different themes and ideas. It’s a
very eclectic exhibition. I am very
aware of what is happening around me all
the time either in my life or the world
and it affects me so my vision changes
all the time.
The
connecting concept throughout would be
me! (He laughs!) It’s basically me and
the medium, my life experiences and the
message I want to give in my own way!
It’s not the end result that is
important to me but the creative process
itself. It’s an addictive sort of
feeling. The creative impulse within me,
the urge, is more important to me than
the result. The result is what people
see, but the process is mine and it’s
a very intense experience!”
Is most of your work meant simply for interior design or also
functionality?
“No,
they are absolutely useless! (He
laughs!) It’s not utility, just an
enjoyment for the eye. I do have plates
and bowls but just imagine putting fruit
or food on them! I don’t take them too
seriously! They are more decorative then
functional.”
For
more information see www.waltervella.com.
Stained Glass Art Studio, Mdina Road,
Zebbug, Tel. 21468408.
GLASS
ATTITUDES
An
Exhibition of Fused Glass Works by
Walter Vella
held
at The Museum of Fine Arts
between
the 5th April and 2nd May 2006
Here
are some of the poems written for the
exhibition's pieces:
6.
Elmu
Achilles
at the helm
Helmet
of massacre
Shields
you from danger
Friend,
foe or stranger
8.
Life Totem Series "Culture"
Sculptural
scriptural spine
Connecting
cultural colours
of
mankind, with the Divine
11.
Altar
Fragile
we falter
Before
your Altar
Reminiscent
of Neolithic days
We
bow in praise
Hanging
on to the Tree of Life
Overcoming
inner strife
We
climb up high
Making
our way to Heaven again
A
Bridge between the Higher Planes
and
the mundane
15.
Life Totem Series "Religion"
Azure
Sky, Mystical Eye
Master,
Magician
Sorcerer,
Shaman and Priest
The
7 Stepping Stones
to
God's higher wisdom we entreat
while
at the feet of your Religion
we
sleep and feast along the street.
18
& 19 Sea Creature I & II
Dolphinosaurus
Rex
Winged
sea creature
Creeping,
translucent
Frozen
feature.
Fossil
fluid flow
Shells
shock on rock of
Row
after row,
An
ancient maze
Of
salty seascape
Evolution's
turning phase
Beneath
the Eternal's Grace,
Science?
Just
another name
for
God's Divine Game
20.
Predator
Kundalini
Cobra
Swerving
ray's sting
Rock
Guitar Star
Predator
animal being
Slide
away, slide afar!
21.
Samurai
Samurai
overlord
Sharp
silent sword
Slides
swiftly inside
With
one final sweep
A
Japanese movie scene
on
black and white reel
Razor
Edge
Memoirs
of a deathly pledge
The
message of the Samurai:
"Be
a hero before you die!"
23.
Politics
Politics'
tick tock tics
And
antiquated antics
Outdated
divisions
Cause
anger and pain
"It's
all in vain!"
Let
heart and harmony
Conquer
and rule again
25.
Sea Goddess
Gigantic
female
Iconic
imagery
Blue
breasts and bare hips
Seductive
succulent lips
The
Sea Goddess!
She
who rules the seas
and
men's earthly dreams
To
drown in her being
This
is her promise
30.
Shattered from Within
Gentle
spring sun
Heart
of glass shattered
Fine
weave spun
Flowers
are scattered
Free
to heal and congeal
Free
to feel
The
energy of a new beginning
Cracks
glazed
In
a bluish haze
Beneath
your gaze
35.
There is Life on Mars
Life
on Mars is not a farce
Look
closer, and you will see
Traces
of human races
And
biological tragedy
Red
raging planets
Orbit
around us
And
hold the key
Waging
wars
On
our Galactic History
Bacterial
enemies
Feed
on greed
Prevention
is a task
Remove
your mask
And
wear love openly
As
your protective shield
And
true immunity.
39.
Phoenicia
Phoenician
ship,
Through
passages of history
You
have slipped
The
spirals of sky and time
Guiding
your eternal trip
Seafarers
voyage to far shores
The
Inner Self's safety lures
Waves
taking us to Land's secure haven
Anchored
to our true selves -
The
Island Nation!
43.
Razzett ta' Zewg Qmura
Twin
moon
Zen
farm
Home
in tune
Arm
in arm
All
is One
by Erika Brincat (c) 2006.
CO-CREATORS OF LOVE & ART
Catherine Cavallo and Simon Barthet are
both well-known artists on the island
with very individual and striking
styles. Also husband and wife, with a
young child, Erika Brincat gets a chance
to meet them in their family home, and
find out more about their art and the
challenges of being parents and artists
at the same time.
The mesmerising journey into their world
of art begins at the threshold of their
cosy home! The stairway is surrounded by
such powerful paintings that by the time
I reach the main door I am already dizzy
with all the new images to absorb. They
both greet me with an equally warm
welcome and we sit down to chat in the
living room over a glass of wine. Their
living space is also strewn with vivid
works of various sizes.
Do you both come from artistic family
backgrounds and who are your main
inspirations within and without your
respective families?
Catherine tells me: “From my side of the
family its not really the case, although
a distant relative of mine did some
research into our family tree and thanks
to her I found out that my great, great,
grandfather Alessandro Casolani was a
prominent painter, whose work can be
found at the Palazzo Ducale in Sienna, a
few blocks away from where I once had my
own work displayed in 1994! The
proximity of the locations was a total
coincidence as I only discovered that I
was a descendant of his some time after
my exhibition was held!” Simon’s
grandfather on the other hand is the
well-loved Esprit Barthet who needs no
real introduction. “I was into art since
I was a kid” Simon tells me: “and my
grandfather gave me private tuition for
three years, while I was also studying
at the School of Art. For me art was
always from the heart and I gave a lot
of my work away, or kept it stacked up
before I started painting more and
eventually decided to have my first
exhibition”.
From the wider international art scene
Catherine says she likes “a large
variety of artists, amongst whom
Michelangelo, Rembrandt, Goya, Van Gogh
and Gaugain are the more prominent. We
went to an exhibition in Amsterdam a few
years ago about the period of their
lives when Van Gogh and Gaugain lived
together, and painted the same scenes in
different styles. Van Gogh adored and
idolised Gaugain while Gaugain found Van
Gogh quite irritating! Van Gogh remained
misunderstood throughout his lifetime.”
“In the end he shot himself in a corn
field on the 29th of July 1890.” Simon
adds. They both seem aware of the
turbulent details involved in Van Gogh’s
personal life. Catherine continues: “I
also admire Francis Bacon who was
recognised as one of London’s top
artists until he was succeeded by Lucian
Freud”. Apparently they were both
homosexuals who produced very sensual
paintings. She opens some of her art
books, and points out the thick textures
and layers involved in Freud’s realistic
portraits, which have an eerie kind of
life-like energy to them. On the other
hand, Bacon’s work has a touch of the
surreal and my first impression is that
I find his images more attractive and a
little less disturbing than Freud’s!
Simon says: “I love all types of art -
Cezanne, Van Gogh and Picasso to mention
just a few.”
Artists are sometimes stereotyped as
lacking in focus, discipline and
direction. Do the two of you balance
each other well in these areas?
“Yes very much so. We do,” they both
agree. “You can’t be successful and lack
focus, discipline or direction”
Catherine quips. “One has to be very
disciplined and very focused to be a
successful artist”. Simon agrees and
adds that since he also has a fulltime
job, he needs even more discipline and
focus to work on his art in his free
time. Catherine explains further:
“Discipline. I learnt that during the
four years of art school in London, and
it’s what allows me to keep that sense
of direction even up to today.” Simon
goes on to explain that since they met,
and he has now had his first solo
exhibition, he has been painting more
than before, and Catherine also pushes
him in that direction.
Does the art world provide the free time
and flexibility parents need so
frequently?
This question seems to hit right home!
Catherine affirms: “It’s the other way
around actually. No. Parenting does not
provide you with the freedom and
flexibility you need as an artist. It is
not conducive to painting at all.
However, the whole experience of
parenting is worth every minute! And
with the help of family and friends we
still manage to get a lot done.”
Osho (an Indian spiritual teacher) says
we need both Roots & Wings. Has your
relationship built an even more solid
foundation for your artistic talents to
blossom?
“Definitely yes!” they both look at each
other and confirm. “Being with someone
who loves the same thing, and has art as
a main life focus is great – we even
travel to see different exhibitions
together!” Catherine describes how they
visited Paris for seven days and spent
every single day visiting one gallery
after another while Simon remembers time
spent together visiting Picasso’s house,
and galleries that are not even listed.
What happens if one of you goes through
a creatively dry spell? Is it even
harder psychologically to see your
partner painting profusely?
Simon: “Actually during a dry period it
helps if you see the other person
working – it motivates you to get things
going again!” Catherine agrees totally:
“Before I met Simon I always painted
professionally, however if something
upset me I’d stop, and then start again
after a period of time. Simon has been
my stabilising factor – once we met
everything fell into place, and now I
paint without ever really taking a
break.” “We have been married for 5
years, and we met some 8 years ago” they
tell me.
You have totally different artistic
styles. Have these changed in any way or
influenced each other since your
parallel journey in life took off?
“Not particularly.” Simon says:
“Catherine’s work is more figurative and
it has inspired me in different ways”.
Catherine confirms: “We also did a few
out-door paintings together, which was a
first. Don’t forget I had been painting
for a longer time than Simon when we
met.”
Which techniques and mediums do you each
prefer to use?
Catherine says: “Definitely oils. I
trained as an oil painter, although I do
use other mediums from time to time. You
have to find what you love. I do things
in acrylic, charcoal, ink and also
watercolours, but I use predominantly
oil paints. My technique is the palette
knife, in order to draw emphasis away
from too much detail. I enjoy taking
commissions – painting is my livelihood
so if someone asks for a commission I
usually say yes. In the past I found
them a bit more difficult to do since it
is somebody else’s choice of subject
matter, but now I really enjoy them.
Portraits I really enjoy and love to do
– they are the biggest challenge you can
have and there is nothing better than a
good challenge”. Simon agrees: “With
regards technique andmediums I have
tried everything and yet my favourites
are oils because they are so versatile.
They are the most versatile of all
mediums. However I have also been
experimenting. For example in my work
called “Clay Slopes” I included crushed
glass and sand to bring out the
different textures. Still life is my
discipline. I like abstracting my work
and using things around me which look
abstract but aren’t. And I also enjoy
adding a figurative element.”
Do you utilise separate art studios to
function at your best?
“No we use the same art studio. We have
one big one for both of us”, Simon says.
“There’s nothing better than a shared
art studio” Catherine pipes in. At first
I think this is a surprising statement,
but when I am invited to have a look
around their studio towards the end of
my visit, I get a taste of what she
means. The room with all their different
works displayed instantly appears to be
a mutually inspiring space, adding
another shared dimension to their loving
family home. Apparently Simon loves the
fact that outside their art studio there
is a large natural area, which he takes
pride in looking after and cleaning up
after the occasional summer picnic held
by unknown visitors. Simon seems to have
green fingers and is into indigenous
trees, organic vegetables and making his
own “julep” - the traditional carob
juice with healing properties.
And have your travels, to India for
example, changed your creative output
substantively? Do such trips feed you
with new ideas?
“Absolutely!” Catherine is definite. “We
went to India specifically because we
knew it would be a country, which would
be really inspiring. We arrived there
armed with papers, pencils and paints
and travelled from Delhi and Agra to
Jaipur, Udaipur and eventually Bombay
and the southernmost beaches in Goa,
bordering with Kerala. We lived in a
house rented by a friend and fellow
artist, and we met up with a whole bunch
of Maltese travellers who are still good
friends of ours today.” I take a look
behind me and see a stunning work of
Catherine’s depicting a group of
beautiful young female beggars walking
the streets of Udaipur. The central
figure and eldest sister is holding a
silver bowl. Their expressions are so
alive I can actually tell which ones
must be related to each other! For a few
seconds I am transported back to the
Indian streets I love so much. Later
Simon shows me a slideshow of some of
his own evocative Indian women, still
lives, and elegant white lilies as well
as a number of captivating abstracts.
His scenes of Malta leave me spellbound,
and I begin to wonder why I hardly ever
notice such beauty around me! Catherine
also has a series of large paintings
depicting pink pond lilies she came
across in Goa. It seems their honeymoon
trip to India in 2001 had a huge impact
on them both!
Are you collaborating with any other
artists or galleries at the moment?
“No”. Simon explains: “I have
participated in a number of collectives
in the past, as well as the Biennale in
Paris, and I had my first one-man show
last September 2005 at Galleria G, that
ran for six weeks.” Catherine's last
exhibition on the other hand was held in
November 2004 at St James Cavalier’s
Centre for Creativity, spread through
the four upper galleries with four
different themes mainly: Nature, Malta,
India and works in pencil and mixed
medium.
And can we look forward to any new
exhibitions in 2006?
They tell me: "It is quite a coincidence
that you chose to interview us together
actually, since we shall be putting up
our first joint exhibition next
November".
Erika Brincat © 13/1/2006 for Malta Now
Feb 06
Back to Top
DESIGNER WITH A DIFFERENCE
Erika Brincat interviews British-Maltese
artist, interior designer and Feng Shui
consultant Nikita Arnett on her love of
art and ancient cultures
Erika: Tell us about the early stages of
your love affair with art,
and how it has developed in the years
gone by
Nikita: When I was a child I suffered
from dyslexia, so I tried to make myself
understood by painting a picture. I
would also dive into my art to get away
from the real world. Doing this brought
on my passion for colour, opening my
mind to the joy it gave me. I decided to
paint so more people could have the same
enjoyment.
Erika: Do you think exploring one’s
creativity helps a person to grow,
accept themselves as they are, and find
peace and unknown resources within one’s
self?
Nikita: I know so. If it wasn’t for my
art as a child, I think I wouldn’t be
the person I am today. Creativity brings
out the emotions we all try to suppress,
be it from childhood or the stressful
lives we lead. I find the more one is
creative the more one can get in touch
with there inner child, bringing about
the peace we all so badly need.
Erika: Was your late great-grandfather
really Turner, the famous artist whose
work is exhibited in the Tate Gallery,
in London? What do you know about him
and his life?
Nikita: Yes, J.M.W. Turner is my great,
great, grandfather. This is also where
my passion for art and colour comes
from. I have been told that the spirit
of Turner still lives within me. When I
was in my early twenties, I started to
design and build model boats. I later
found out that Turner also built model
boats. I love to travel, I love Venice,
Naples, the sea, and so did Turner. I
would always try and feel in depth what
it was I wanted to paint. Turner once
tied himself to a sinking ships mast, so
he could sketch and feel the subject he
was about to paint.
Erika: How did you become interested in
Native American Indian Art & Traditions
and how has it influenced your work?
Nikita: I have a deep interest in
different cultures, and the old
traditions they used. I started to study
in detail where these people came from,
and why to this very day, they are not a
free race. My studies took me to Russia
where I spent one year in a town called
Tula, which sounds just like the Tulan
Indians. The reason is because a lot of
the Native American tribes came from
different parts of Russia, across the
White Bearing into Canada while hunting,
but when they came to return to there
homeland the ice had melted, and they
spread across America.
One day as I was deep in meditation
painting a carpet on Native Americans,
to the sound of their music I lifted my
head and could not believe my
eyes….there in front of me were six old
Native Chiefs smoking a pipe around a
fire, and looking at me. One by one they
nodded at me and then vanished.
Erika: Has the Balinese lifestyle &
culture influenced your interior designs
in any way?
Nikita: Yes it has. The style of
interior design I use is called Feng
Shui. A lot of people who have heard of
this, think that it is a Chinese method
of design, but the fact is it originated
in Bali many years before it made its
way to China. If one were to visit Bali
one would feel the balance on this
island. The Balinese people are thankful
throughout every day, for all there
blessings.
Erika: What was your most memorable
experience in Bali?
Climbing Mount Agung perhaps?
Nikita: Yes climbing the
highest mountain in Indonesia, also the
most sacred, Mount Agung, challenges
every step you take. The guide takes you
up at 2.00 a.m. in hope that you will
make it to the top to see the sunrise. I
think it is also so one can see were
they are climbing. After finding myself
literally on top of the clouds, (my
childhood dream was to walk in the
clouds) I have no fear of heights
anymore.
Erika: Who is the person or artist that
inspires you the most and why?
Nikita: Turner of course, but the
greatest artist of all who really brings
out my inspiration is Mother Nature
herself. No one can ever create such
vast unique, breathtaking canvases as
she can. I wrote a poem about her.
The True Artist
“Mother Nature”
I heard the sound of water flowing in
the distance,
My mind created a tremendous waterfall
as pictures to my eyes.
For a moment this incredible sight
blinded me,
My legs stood motionless, so as not to
let my body stumble.
My ears were filled with the music of
flowing water,
And my mind was at peace.
The sight was cleared from my eyes,
to enable me to carry on my journey into
the unknown.
I staggered on through the dense rain
forest,
Knowing that Mother Nature had a
surprise awaiting me.
A sudden spray of water hit my face,
with a coolness that was gladly
accepted by my skin.
As I stood in awe at the sight my eyes
received,
My entire body went into ecstasy.
The true artist is but one, her name is
Mother Nature,
Her gift is a canvas so vast it would
take a lifetime to view
And if one were to view in detail,
It would take Eternity.
So why must we destroy that which we can
never replace?
Erika: When did you start studying Feng
Shui and how has it helped you create
comfortable designs for everyday living?
Nikita: I started to study Feng Shui in
Russia. I wanted to help my friends
there to design better living space, and
my main challenge was to get rid of the
clutter, and create storage in as
limited space possible, at the same time
making it spacious.
Erika: Tell us about the biggest mural
you’ve ever painted and the most
challenging job you’ve ever undertaken
Nikita: The one I can think of offhand
is my Vivaldi in the Vivaldi Hotel. I
don’t really like painting portraits,
and this one had to look like an old
Renaissance painting. My challenges were
that some workers kept on coming over to
me every few minutes to ask if he was a
woman, and no matter how many times I
answered them they just would not stop.
In the end I had to erect a screen, to
hide myself and my work from them.
Erika: What triggered off your idea to
create “Challenge”, the first board game
ever to deal with the Maltese Temples &
Ruins? Was getting it printed a
challenge in itself?
Nikita: For many years while I visited
the ruins of different civilisations, it
fascinated me to see how different human
beings lived, the importance of the
design work, which was carried out in
these historic structures. For most
people these places are just a pile of
old stones, which are of no importance
or significance to them or their lives.
Children find history lessons boring, so
“Challenge” is a way to bring the
knowledge to them in a fun way.
Yes it was a challenge to print the
game. We had to go all the way to Bali
for this, as the printing could not be
done here.
Erika: Tell us more about the game
itself, and what it means to you
Nikita: "Challenge" is the first ever,
Maltese board game based on pre-history,
the temples etc. with a few questions
based around the Christian era. It's a
most interesting, stimulating family
game. Some say this is a thinkers'
snakes and ladders. Why? Because the
players, and there can be up to five
individuals, or multiples if teams are
involved, throw the dice and if the
'counter' which is in the form of a
Relic or Temple Structure, then lands on
an 'instructive' square, it may be moved
forward - or quite a long way back!!
Counters may also fall on harmless blank
squares. There are also several Question
Cards.
Failure to answer is not entirely
dramatic, the next turn is simply
missed. Should a counter fall on a
'chance' square the player has the
choice of accepting or ignoring it. Six
Bonus cards 'sugar the pill' as they are
shuffled into the Question Pack and when
they appear they can be used twice by
the lucky player/team before being
returned to the Question Pack. The first
counter to reach the end square wins.
Erika: What about your most recent
creation - the Angel Cards. Are they
based on the Angels we are familiar with
in Catholicism?
Nikita: Do you believe in Angels? Well
if you don’t, by the time you have used
these cards, you will.
The pack is comprised of 7 Archangel
Cards and 30 Angel Cards.
To play with the 30 Angel Cards you
choose a card from the pack that
represents the energy related to the
question you wish to have answered.
Shuffle the pack of cards, & think of
the question. Place the chosen card that
represents your question in the centre
to do a 5 card spread. Read your answer.
Enjoy your messages from the angels.
Erika: What was your intention when you
created these cards and how can they
help people deal with their personal
issues?
Nikita: People always have problems they
want the answers to, but just don’t know
where to get them from. I believe we
have the answers to all our questions,
we just don’t know how to listen to
ourselves. So this is why I created the
Angel Cards - for people to get in touch
with their angels or spirit guides.
Erika: Do you think that respect for
“Mother Earth” and other cultures and
religions have an important role to play
even in a small predominantly Catholic
island such as Malta?
Nikita: I think if everyone had to
respect other cultures as they respect
their own, these wars would not even
start. Is it really so important what
one wears on one’s head, is it more
important than a humans life? I don’t
think so. Whatever religion or culture
you come from its ok. It is who you are
and at the end of it we are all of one
race, that being the human race. And as
the human race we must respect “Mother
Earth”. She is home to us all and
without her we will not exist. Us
Westerners take her for granted, and
where has it got us? Nowhere. We should
learn from one another and not try to
control each other.
Erika: Do you think Maltese people have
a long way to go before they learn to
embrace a more conscious, holistic and
perhaps ‘spiritual’ way of life, or can
you see some positive changes already
happening in our people and culture?
Nikita: I can see positive changes
happening in the last few years, but it
is too slow, and time is running out for
some, and the lessons are not being
learnt. A lot of the culture is being
lost here and in many parts of the
world, and I feel this is wrong. I have
made this the topic of my article in the
“Design and Décor” Autumn issue. Without
your culture your roots are lost.
Erika: What are the main changes you
would like to see on the island when it
comes to the environment, the general
way of life, and the preservation of our
rich history?
Nikita: I would love to see more trees
planted on the islands, and more lessons
on the environment in schools. More
respect for the environment in general.
I would also like to see more people
take the time of day to walk around the
islands and understand how rich in
history they are. I would love to see a
much cleaner place, and if each of us
had to start to care it would happen.
Nikita Arnett is a Professional Interior
Designer, who furthered her studies in
the art of Feng Shui Interior Design and
Environmental Space Cleaning.
A Reiki Master and a Designer, you may contact
her on Mob 99858914.
13/9/04 © Erika Brincat
The Malta Independent
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Energy
and Symbolism
For those of us based in the north or
middle of the island, it may seem like a
long drive getting down to Birgu in the
deep south of Maltese authentic, old
city life, and yet it is definitely
worth the trip! Not just because the
residents have really done their utmost
to uplift the area and make it a
welcoming and attractive place. I am
always fascinated by the beautiful and
well looked after large plants, placed
outside their elegant residences, and
lining the picturesque winding streets
behind the main church. It’s also worth
some extra time to visit the now
well-established Il-Forn Art Gallery and
Wine Bar, renovated and run by Austrian
artist Clemens Hasengshwandtner or as he
is known amongst friends – simply Clem.
I made it in time for the opening of the
new Summer Exhibition 2005 on Wednesday
night the 27 of July, and got to talk to
Maltese-American artist Janet Savage,
who is the female counterpart of the
joint exhibition, about life and her new
paintings.
Explain to us your roots and background
– for how long have you lived in the
States, and what
propelled you to return to the island?
Although my mother’s family is
originally from Birgu, I was born in New
York and was there for most of my life,
until I decided to move here 5 years
ago. Around then I put up an exhibition
at St. James Cavalier, and I was
actually the first woman to have my own
exhibition there. I ran a lot of
programs for the disadvantaged and
socially deprived during the first few
years I was here, and organized
workshops that included painting, drama
and creative writing, culture and the
environment. I have studied mostly in
the States but also in England, at
Fairfield University and Essex
University respectively. More recently I
have been teaching Systems of Knowledge
and Education.
How did life in America and your family
background shape the way you paint
nowadays?
When I can experience art firsthand,
either by visiting somebody’s studio,
whether it was an uncle who painted in
Malta, or I had friends whose relations
were successful artists in New York,
going to a studio and seeing creativity
actually in action is what inspires me
the most.
Are there any American artists you are
particularly fond of? Perhaps Georgia
O’Keefe?
Yes, I was thinking of her. She did
wonderful work, but I cannot say I based
my thing on her art in any way. For me
the main inspiration is to see other
people at work. They have their vision
and I have my vision. To see that
appearing on the canvas is amazing.
Something that did not exist before now
exists. You see it in your mind as your
vision and then you manifest it.
How did you actually come to find out
about Il-Forn here in this southern corner
of the Maltese islands?
My family is from Birgu so I knew about
it, and I thought it would be successful
from the very beginning. Looking at
somebody doing something creative you
can see the energy. It’s nice to see
something unusual and something out of
the ordinary. We have a lot of artists
in Malta and partly culturally and
partly artistically that is why I wanted
to be here.
Has Malta’s rich history and eclectic
culture provided you with enough new
energy to be productive artistically?
Yes, even though it takes time to be
established. I am definitely not lacking
in inspiration from Malta. In that sense
it’s very positive. My heritage is
Maltese. It is a combination of other
things but I strongly identify with
being Maltese. My grandparents lived in
New York but they were always talking
about our heritage as Maltese.
How many new works have you produced in
the last few months?
In the last month and a half, I have
produced about twelve new works,
although the exhibition is a compilation
of works I have done over the last year.
What media do you use to create your
art?
More recently acrylic but I also use
oils occasionally.
I see a lot of motifs from the Temples
of Malta and the Maltese Goddess of
Fertility– is this the main impetus
behind your work?
Yes, but its not the only influence. The
creative power and symbolism and the
energy of the islands, because they have
the oldest freestanding temples of the
world make it a special place. We have
such an ancient history, and the temples
are one aspect that inspires me -as well
as antiquity, symbolism and mysticism.
Can you tell us the names of your
favourite paintings so far?
Maltese Landscape Fantasy, and
Nightscape of Fort Saint Angelo are two
I am especially proud of.
On the list I also notice suggestive
names like Crystal Woman, Cosmic Woman,
Kuan Yin Buddhist Goddess of Compassion,
Spiral Goddess, Temple Night Priestess,
Star Struck and Cosmic Chapel, which go
to show how steeped in Mysticism her
work is. The painting that struck me the
most is a blue version of the Maltese
Goddess looking very serene and
meditative.
Janet points out two very feminine
pieces in hues of light blue and indigo,
and explains that they are sculpted
pieces using ‘cabershans’, which are
shiny gem like pieces inlaid into the
painting. “It’s a different technique,”
she says, “sculpted onto the canvas and
then painted on. It’s more physical - I
like to get my hands into the artwork.”
Do you see Art as your career, passion,
first love or life itself?
I would say a combination of all of
them. It’s the best way for me to
express my vision, and pass on positive
energy through the symbolism.
Where do you enjoy working the most –
indoors or outdoors? Do you need a
specific space or art studio to be at
your best creatively?
I like working both indoors and outdoors
but it depends on what I’m painting. If
it’s a free or looser painting it’s nice
to have that freedom of working outside.
Having a nice studio is a plus though!
Would you say that being in love helps
the creative juices to flow?
The fact that he is an artist helps.
What better person can deal with
somebody spending an enormous amount of
time painting? If two people have the
same passion, it is probably an asset.
In fact it is instantly noticeable that
the paintings complement each other, and
the artists’ are mutually inspired by
each other’s vision and choice of
colour. One has to make the trip down to
Birgu to see what I mean!
Prospective buyers can contact her on
JanetSavage@hotmail.com or 99849676. For
more information check out www.birgu.com
Janet Savage was talking to Erika
Brincat.
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