archetype issue 1

the

paper

issue 11. An original model or type after which other similar things are patterned; a prototype.2. An ideal example of a type; quintessence: an archetype of the successful entrepreneur.3. In Jungian psychology, an inherited pattern of thought or symbolic imagery derived from the past collective experience and present in the individual unconscious.

Now is the time to invest in designer furniture25% Summer savings on the following brands Antonello Italia, Md house, Alberta & GeD Cucine

w. ONEPERCENT.COM.MTT. 2546 5000

E. [email protected]. VALLEY ROAD,

BiRKiRKARA, MALTA

4

Dear reader,

Welcome to the first issue of The Archetype Paper. This quarterly publication is aimed at keeping the design-conscious consumer up to date with personalities, trends and new products on the local and international design scene.

We know that there is a myriad of publications on the market targeting the home and interiors segment, but the ultimate aim of The Archetype Paper is to be different from every perspective. It is not distributed nationwide but mailed to select families and individuals. We are proud that it is a self-funded project and one which is not aimed at making profit.

Our special thanks go to the people who contributed to the idea and have worked hard towards its realisation.

We hope you will enjoy viewing and reading our work and that you will have the pleasure to keep receiving our newspaper, whilst also inviting you to actively contribute towards it by introducing your ideas on www.onepercent.com.mt

The onepercent team

issue no. 1 The Archetype Paper

Date August 2011

Art direction by werkdesigns.com

interviews by Lisa Gwen

Editorial design by Matthew Attard Navarro

Portrait photogrpahy Alexandra Pace

To subscribe to the paper please do the following Log on onepercent.com.mt

Subscribe in the ‘Archetype’ section

Also available fromonepercent, Valley Road, Msida, Malta

onepercent.com.mt

The Archetype is a quarterly newspaper by

onepercent ltd about design, interiors,

furniture & art.

paper

the

5

Snake is a sign; an armchair with an

absolutely exclusive and recognisable design, born

thanks to the creative fantasy of Roberto

Lazzeroni. A piece of furniture which can easily match with different kinds

of atmospheres, always keeping its distinctive

mark and its strong personality.

must havessection 1

HAVE A SEAT A SELECTION OF

DESIGNER CHAIRS

Snake is available from onepercent at a retail price ranging from €1200 to €1920; footrest ranging from €545 to €980.

S N A K EAvailable in leather & eco pelle

6

Gaston, gentlemanly name, elegant features... Gaston, the latest Poliform armchair born of the collaboration with Vincent Van Duysen evokes an exclusive style. Available with covering in leather or fabric to interpret a large range of stylistic definition.

Gaston is available from onepercent at a retail price ranging from €1,350 to €1,810.

GASTONThe seat is available in fabric & leather

The frame is available in white or black gloss lacquer

must havessection 1

7

Venus, a project ispired by the fascination of the modernity. Venus chair, design by Marcel Wanders, is a precise choice that expresses a sence of absolute purity.

Venus is available from onepercent at a retail price ranging from €800 to €945.

V E N U S

Structure is in embossed plastic availble in black & white

Swivel base in metal, black or white

Seat available in leather

must havessection 1

8

Grace, the chair as aesthetic element always in line with the most current trends of living. A declaration of style confirmed by Grace chair by Emmanuel Gallina.

Grace is available from onepercent at a retail price ranging from €640 to €940.

G R A C E

Available in leather & fabric

With structure in walnut canaletto or spessart oak

Also available without arms

must havessection 1

9

Camilla, a new interpretation of the deep seating armchair, between formal references and essential design. Very thick cushions underline the idea of top comfort and of cosiness.

Camilla is available from onepercent at a retail price ranging from €970 to €1585.

CAMILLACushions available in

fabric & leather

Structure available in dark oak, or walnut canaletto

must havessection 1

10

Structure in solid cherry

Back cushion available in fabric & leather

Grace is available from onepercent at a retail price ranging from €880 to €1240.

D O R I Smust havessection 1

Doris, mixes a traditional design with a twist. In sturdy solid cherry Doris provides comfort and brilliant design by Porada.

11

A L B A

Alba is available from onepercent at a retail price ranging from €1570 to €1845.

must havessection 1

Frame in solid ash or walnut

Removable seat in fabric

Alba, mixes contemporary design with comfortable seating which fits nicely both in a formal and casual settng.

case studysection 2

12

Noel, floor m

anager at onepercent sits on a VENU

S chair from PO

LIFOR

M, Anthony sits on a G

ASTON

armchair from

POLIFO

RM

. Photographed by Alexandra Pace

13

“What’s in a name?” Plenty.

When in doubt, just call on the Montagues and the Capulets.

Shakespeare understood the importance of a name, the weight it carried. So how is it any different today? Simple. It’s not.

Names, symbols, brands, logos... associations? How about digits, numbers, percentages? How about a simple 1%?

Funny how, until recently, that number/symbol combination wouldn’t have triggered much in terms of visuals in my mind’s eye. But that changed a while

back when onepercent opened its doors – unlocking an unprecedented sense of style and taste in relation to furniture design.

So who is the man behind the brand? How and why was onepercent conceived and what vision was this shining enterprise given?

Anthony Sammut can be described as an exacting and calculated man. Having focused his attention and energies in the furniture industry for the past 16 years, onepercent was a labour of love.

Yet it is also a concept that underwent a natural growth and evolution – a concept

which, upon realisation, is now growing steadily.

Anthony nevertheless explains how people are often puzzled by the very

name of the store; failing to grasp the association with a furniture outlet. So where does the onepercent actually feature or come in? “In all honesty, it is our marketshare target. We are happy with having that percentage of the local market and we do not seek to grow further than that. “Simultaneously, we were well-aware that with our onepercent strategy we would be able to attain our goal in a relatively short expanse of time.” In fact, they have almost reached their target, even though the store has only been open some 18 months.”

“So now we are seeking

to redefine ourselves, our market and our territory, in such a way that as of next season we will be selling high quality products for the home and the living environment which all adhere and complement a design-conscious lifestyle.”

Meanwhile, “I feel that our vision is all that we have acheived and all that we have managed to realise... with the only difference that we are doing things so well that people automatically assume that the store is too expensive.”

So who was onepercent created for? It was created as an outlet which sells

case studysection 2

WHAT’S IN A NAME?

14

furniture the way it should be sold – focused on style and focused on the people.

Anthony explains that there was a niche market which needed tapping into. Others before him have attempted to go down this road, perhaps using the wrong business model. So onepercent was created to fill this void, to fulfill a purpose – an empty space.

Yet he stresses that onepercent was conceived to cater for those who have a specific lifestyle rather than those who were financially well-off.

He narrates how “a number

of customers enter the store supposedly just to browse, because they are scared of asking for prices. But are then pleasantly surprised when prices are eventually quoted”.

Nevertheless, the store doesn’t cater for everyone: “our focus is the design conscious...”

Over the past 18 months, the store has also attracted a surprising number of foreign customers, who were likely and originally drawn to onepercent because of high-end brands like Poliform, among other labels.

Anthony once again stresses

how the store’s concept was not focused around attracting a sole elite client-base. “It was created for all those design conscious individuals out there, even for that person seeking that one special piece.”

Perhaps the Maltese have not yet tapped into their inner-designer or brand-conscious selves. “It would be a pleasure for us if everyone understood what Poliform stands for: The past two years have involved many visits to the Poliform base and structure in Milan – there, guests truly have the opportunity of appreciating what Poliform means in terms of lifestyle; which

means creating the perfect fit to suit the particular tastes of each and every particular customer.”

During the years working in the furniture business, Anthony has never come across another product that parallels the quality of the “impeccable” Poliform: “It is the only high end segment producer that creates furniture for the whole house that can be matched in the same finish, wood, materials, colours... Throughout my career I’ve seen pretty much everything; red carpet galas, champagne parties, freebies, you name it... But we thought, is this really the way to sell furniture? We felt, and still feel, that our enterprise should be people-focused.”

“The secret is our team and our strategy. The onepercent marketshare allows us to dedicate a lot of time to a few customers, and not the other way around. I think our customer relationship and management truly reflect the price tag the product carries. onepercent hasn’t disappointed a single consumer since the day we opened our doors.”

This has earned them a reputation for being one of the best.

Onepercent’s investments, strengths and energies, truly lie in their human resources, which, coupled with a strong product, brand and label creates an unbeatable formula.

LG

case studysection 2

15

case studysection 2



BiRKiRKARA, MALTA


17

PIERREPORTELLIFEEL

case studysection 2

Pierre Portelli photographed with his latest installation at St Jam

es Cavalier by Alexandra Pace

18

It’s big, it’s red and it’s bushy.

Not bottle-brush bushy but

rather broom-bristle bushy.

And four letters are carved

into its rough ‘n’ tough

tentacles – F. E. E. L.

It’s a work of art: It’s

tactile, it’s fun, it’s bold.

It’s unquestionably Pierre

Portelli.

Pierre’s strong penchant for

installation art coupled with

innumerable stage, set and

book-design projects, has

allowed him to take his work

to particular heights, explore

size and dimension as well as

experiment with multifarious

textures, surfaces and

concepts. The results are

expectedly unexpected.

Because multimedia artworks

can take on any form,

comprise/simultaneously

incorporate a wide variety

of materials, exhibiting or

showcasing such works

can be complex, if not

problematic. So what exactly

does contemporary and

conceptual art necessitate

in terms of space? Does it

require a traditional gallery

space in which to be

exhibited or can it fit into a

more ‘conventional’ space

such as a home?

Pierre explains... “With site-

specific installations large

dimensions may be what

the spatial dialectic requires.

However, filled-spaces art

can easily be redone in

other locations because

there is coherence between

the composite pieces of the

artwork rather than with the

whole space.”

“These pieces can be easily

relocated without any loss in

meaning. This is no different

from previous instances in art

history where paintings and

sculptures were specifically

meant to be viewed in places

of worship like churches

or cathedrals. They were

‘installed’ in specific spaces

where their meaning and

value was congruent with

the symbolic and practical

functions served by the site.

This did not mean that they

couldn’t be translocated

and exhibited in museums,

corporate boardrooms and

even private homes.”

“The same applies to

contemporary art, particularly

to mixed media art and filled-

space pieces. Contemporary

art has the same potential as

any other art piece outside of

the ‘formal’ exhibition space;

it can be integrated within a

non-exhibition space. This

of course would be less

applicable to some site-

specific work but even this

undergoes transformation

sometimes as part of a

deliberate process that can

render the piece more readily

displayable in a living space.

The larger installations, for

instance are always recorded

as limited edition prints as

are more fragile stand-alone

pieces.”

“One can create a gallery-

like atmosphere in any

space within an apartment

or a house. The experience

may take the form of an

architectural contemplation,

that would require a desire

to enter into a dialogue with

the space in order to bring

about its transformation. It is

ultimately always a question

of having conversations with

the client and the space they

have in mind.”

In fact, the nature(s) of

Pierre’s work has also taken

him, throughout the years,

to exhibit in a number of

abandoned and dilapidated

spaces, warehouses,

shelters… more often than

case studysection 2

19

not, creating site- or space-

specific work. But how about

‘home’ or apartment-specific

work; is there such a thing?

“Certainly there is… a home

or apartment is a mosaic of

interior and exterior spaces

like any other building or

structure with specific

functions. Any site is a fluid

weave of associations that

can be physical, emotional,

personal etc. Since space,

like texture, colour and form

is tangible it can be shaped

to acquire new meaning. A

living space still articulates its

nuances and narratives, and

that is both challenging and

exciting.”

“There are a number of

possibilities that can be

realised in living spaces from

site-specific works, filled-

space work, mixed media,

hanging pieces etc.”

Pierre explains how site-

specific work generates its

meaning and value from its

relationship with the chosen

environment, generally within

interior spaces (although

exterior open spaces are

not an exception). Like

in any other building, a

contemporary site-specific

art piece within a given

space in a house/apartment

is a reworking of the here and

now, an integrative space.

“The viewer remains an

essential and integral element

of the piece, despite the fact

that a home is intrinsically

a private place. This would

differ from traditional media

like sculpture, painting

or photography, in that it

addresses the viewer directly

as a literal presence in the

space.”

“Mixed media work, hanging

pieces and filled-space art

on the other hand, would

not necessarily include

the surroundings in the

composition i.e. they may

or may not be site- specific.

These can easily be created

or recreated for a living

space.”

From one space to the next,

does the interpretation of a

work change accordingly;

would a different or new space

add layers to the original

concept, or transform it?

“Spaces are receptacles for

associations and the physical

characteristics of a space act

as an inspirational catalyst

because apart from the

singular aesthetic dialectic,

a configured space may

also carry historical, social,

emotional and functional

narratives that render it all the

more interesting.”

“Every work is informed

by the architecture of the

building that both hosts and

becomes part of it. There is an

imperative transformational

interaction between the two

because the architectural

space may also become an

integral part of the artwork.

Furthermore a concept does

not necessarily have a one-

to-one correspondence with

an object; there is always the

possibility of expressing it in

different forms. I view this as a

positive aspect; challenging,

but positive.”

Pierre’s work can hardly be

called commercial. This hardly

means that contemporary or

conceptual artworks cannot

be purchased or even

commissioned. But how

does one go about such a

‘transaction’?

“Easy, a call or an email

showing interest would

suffice. I wouldn’t say there

isn’t a market because I do

sell my work both locally and

abroad, from site-specific

installations, filled-space

pieces, mixed-media to

limited edition prints.

“It is probably more related

to educating the potential

buyer who would be unsure

of how conceptual art can

be acquired. This surely is

not the case of buying art

to match the curtains, but

acquiring a work because

the work evokes a sense

of intrigue, excitement, a

reaction, whether it is tailor-

made for a particular space

or bought from an exhibition.

“An artwork that could

become a talking piece,

a point of reference, an

interesting interaction. That’s

the work I surround myself

with in my house and if I

sense this excitement in a

potential client, only then

would I part from the work.”

LG

case studysection 2

20

case studysection 2

THE CREATIVE

GENEThe creative gene: Just like

we inherit our parents’ prized

or annoying habits could

we also inherit their sense

of style. Taste. Aptitude for

design. Creativity. Eye for

detail?

The answer seems simple

enough. Yet science remains

elusive.

On meeting Kenneth Tanti,

one cannot help placing his

flair for interior design into a

wider, genealogical context.

Coming from a family and

background that has been

associated, even intimately

linked with antiques and

interiors for over half a

century, ‘tis no wonder that

Kenneth gravitated towards

the discipline.

But aside from the family ties,

what was it about interior

design that first caught his

attention?

Having always been

fascinated by the grand

homes he visited when

meeting clients to discuss the

furniture they were buying or

selling, interior design seems

to have come to him by

instinct.

He recalls how, “Most of the

time I’d have the words at

the tip of my tongue… I’d

want to tell our client to move

furniture around and change

the layout as the present

one was totally wrong and

could have been improved

drastically. This is when I

said, ‘Right, I must turn this

into my job!’ Little did I know

that interior design involved

much more than pushing

some furniture around the

room.”

In fact, interior design can

be a double-edged sword:

Kenneth explains how the

most frustrating part of his

job is dealing with deadlines

and keeping within budget.

“It’s as though these two

words are opposing poles,

in that the faster you need

the job done, the more costs

are incurred; and the higher

the budget and the more

complex the project is, the

more time is required. As to

the most rewarding aspect…

that would definitely be the

satisfaction in seeing the

finished product and the

clients gratitude and joy in

achieving their envisaged

interior.”

For the design-conscious

(and design-hungry) individual

it is very easy for one’s budget

to skyrocket. So what areas/

aspects of interior design

and decor should one never

skimp on? And contrasting

on what should one splurge?

“I always suggest to my

clients to spend a bit more

on their kitchens and even

bathrooms. Usable items in

the house that need to be

practical, functional and if

possible indestructible!”

“There are many other

specifics in an interior where

one can reduce costs without

altering the ‘look’ or design

scheme.”

“Quality always comes with

a price. One needs to set a

budget and a work schedule

at the start of a project; this

facilitates the prioritisation of

costs in order of necessity.”

Maltese homes can be a

challenge to work in; from

historical buildings having

acquired several structural

accretions over the years;

to the pint-sized apartments

labeled as family homes.

case studysection 2Kenneth Tanti photographed at his house w

ith one of his dogs by Alexandra Pace

21

22

case studysection 2

“Challenging design aspects

always depend on the type

of Maltese home we are

referring to. New builds and

projects have small tight

spaces, so one would find

the lack of internal space as

the main challenge. Trying

to fit in every request by

the client and keeping it all

aesthetically pleasing. On the

other hand, in larger homes

the challenge would be how

to blend in the different styles

within the open space of a

large open plan; or how to

partially conceal a kitchen

from the living area. Each

project comes with its own

challenging case that makes

our work as designers that

somewhat more colorful.”

Having established the

successful Tanti Interiors

business some 11 years

ago, Kenneth consistently

keeps himself updated

with emerging styles and

trends – travelling often and

visiting as many design fairs

as possible. Yet he feels he

gravitates towards a design

area that makes an interior

feel like a home. “Be it using

modern pieces, antiques,

Asian objets d’art or anything

else.”

“It’s one of my main

priorities… envisaging my

clients living in a space. I

sometimes feel that one has

to be a bit of a psychologist

when trying to discover the

type of lifestyle a particular

client leads.” In this manner

however, Kenneth ensures that

“each project is tailor-made to

suit ones needs”.

The range of services which

Kenneth and his team offer

is extensive to say the

least, ranging from a basic

furniture layout to a total

refurbishment project.

“Some clients are just happy

with a set of designs and

plans in hand from us. We will

layout the interiors and draw

them on plan. A complete

‘package’ will include three

dimensional visuals, on-site

inspections and also handling

the actual works on site.”

Yet their design services are

‘built’ to suit the individual’s

lifestyle and pattern, starting

from a basic set of plans

that matures and evolves

as steadily as the client-

relationship that inevitably

develops through the several

meetings set.

Furniture layouts, electrical

and mechanical plans are

then issued to lead to the

sourcing of materials. The

sourcing of samples for

each item being designed,

finally leads into the buildup

of a high quality computer-

generated image of the

interior space in question.

They also accompany clients

to interiors showrooms

to assist in the choice of

furniture and fittings. In

addition, they carry a vast

range of fabrics within their

company to facilitate the

choice of soft furnishings.

LG

case studysection 2

24

Shawn M

uscat photographed in his studio by Alexandra Pace

25

Some people don’t always

look the part they play in life.

Often however, it’s not that

they don’t look the part, it’s

just that we don’t stop to take

note of tell-tale or giveaway

signs.

Creatives usually wear

their profession – it’s visible

in their quirky shoes, in

their spectacles, a scarf

nonchalantly draped around

their neck or a chunky piece

of jewellery. But does this hold

true for designers, architects

– the largely prim-and-proper

segment of the creatives

clan?

Well, Shawn Muscat looks like

your typical twenty-something-

year-old. A little rough, a little

rugged, perhaps. The shirt

might not be the norm as far

as attire goes for someone

his age, but what truly marks

him and the nature of his work

are his shoes. Squeaky clean,

polished? Rather, white and

dusty – the true marks of a

man who walks the walk.

Shawn is a young product

of the Malta College of Arts,

Science and Technology

and of the University for the

Creative Arts in Farnham,

UK. Having first obtained a

Higher National Diploma in

3D Design from MCAST, he

consequently obtained a BA

(Hons) in Interior Architecture

and Design.

So he’s not quite an architect

and not quite an interior

designer... he fits comfortably

in between even though he

states: “I don’t like defining

myself.”

Shawn currently works full-

time with a local interior

designer. But design is not

a nine-to-five job for him.

‘After hours’ he works alone,

from his parent’s garage-

cum-personal studio. There,

with random documentaries

playing on his laptop, and

with the company of his pet

bird Uno, he has managed

to achieve the right degree

of stimulus, distraction and

noise pollution which allows

him to work, produce, create.

Humble yet pleasantly

random and talkative, Shawn

describes the importance

of the role of MCAST in his

formative years before moving

on to becoming an interiors

architect. “I keep praising it

[MCAST] because the value

of what I learnt there has

been resounding throughout

my brief career.”

“In my foundation year at

MCAST I started creating...

experimenting with different

materials. I was not producing

anything functional at that

point, just getting a feel for

textures/surfaces. This was

an essential aspect during my

early training, even though I

was then unaware of it.”

And yet, even at that early

stage he was confronted

with a realisation: “That’s

when I started to realise that

it’s not enough to dream up

a project... it’s about finding

ways to materialise it.”

On leaving MCAST however,

Shawn confessed to feeling

somewhat unprepared,

immature even to set out into

the career world. “There was

a time when I thought interior

design was a cliché. I thought

there were many ways of

tackling a space. I didn’t view

it in terms of a discipline.

Perhaps because I was aware

of very few people who had

managed to make interior

design a profession.”

Although he’s always had

a strong inkling towards

drawing and design, making

the shift from working in 2D

(flat) and then moving into

3D, constituted somewhat

of a revelation. “At first I

felt drawn towards product

design because there is a

stronger element of control

– in my head it was safer. I

still enjoy focusing on objects

– destroying them only to

recreate them all over again.

But I wanted a challenge. And

that’s when the thoughts of

pursuing a course abroad first

hit me. That’s when I realised

that interior design was not

what it had initially appeared

to be.”

The course in interior

architecture which Shawn

followed in the UK gave him

all the challenges he had

been craving, although at

that point he was perhaps

unaware of it. “I had to make

a transition: from product to

interior design. Interior design

presents a very different scale.

I used to focus on individual

case studysection 2

MIRRORED

26

elements. Back then I hadn’t

yet understood the relation

between separate objects or

the relation between objects

and space; or even whether

the aspects being tackled

were practical, functional or

emotional.”

Course complete, Shawn’s

outlook towards interior design,

or rather interior architecture

has evolved and his new-found

sensitivity towards space,

environment and history is

manifest in the projects he

has undertaken and those

underway.

“My job is to deliver a

concept. The makers, the

manufacturers are the ones

who develop the product,

not me. Over the years I’ve

learnt to develop relationships

with people working in

different fields/disciplines.

Such as my relationship with

carpenters for instance... I

feel it is important to cultivate

such relationships in order

to understand the process

of making, of production...

as well as understanding the

strengths and limitations of

any given material. Only with

this understanding do I feel

that I have the necessary tools

to justify any of my designs.

The designer is merely meant

to represent a mirror. The

more one is informed, the

more the chance of reflecting

that knowledge.”

“Interior design has no formula.

All one has to work with are

the ingredients; no recipe. The

biggest mistake a designer

can make is that of imposing

their style on anything. Style

should be dictated by the

space and environment, not

by the designer.”

LG

case studysection 2

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BiRKiRKARA, MALTA


30

photo studysection 3

DAVID PISANI

UNTAMED BEAST

Photography can be a strange beast to tame.

Especially when Ansel Adams calls the shots: “There are no rules for good

photographs, there are only

good photographs”.

The world fancies itself as a photographer. Everyone’s snap happy; image-catching devices at the fingertips of all: with many striving to capture that perfect postcard picture and with others being simply and happily content in reproducing or plagiarising another’s shots and frames.

A few however, do seek to move away from the confines of cliché, idealism or traditional aesthetic. And that’s where David Pisani comes in.

He is photographer of quiet scenes and ‘scapes; of places, non-places; and spaces ripe with memory, sentiment.

Perhaps he is best known

for his 18-year-long project titled Vanishing Valletta – documenting Malta’s capital city – or for the series he was commissioned by Emirates Airline to create an architectural photo essay on Dubai, titled the Future City. Yet David’s Black & White or monochromatic fine art photographs are lyrically appealing; they are infused with a deeply nostalgic tinge making these images all the more poignant and personal – for both the photographer and the viewer. And that is where he succeeds so effortlessly.

“Not everybody trusts

paintings but people believe

photographs.” Ansel Adams

David’s photographs are very distinct, not only because they seem devoid of any popular imagery or commercial colour but because the human element has been altogether done away with – unless it is the sole subject under scrutiny. Yet man’s indirect ‘contribution’ is omnipresent

in his work – whether in land- or seascape.

“I guess the reason why there are no people in my work is because I’m such a shy person, so I prefer to be alone when I work, and consequently I seek out times of day and situations when there’s nobody about,” he explains.

“Having said that, I feel that by eliminating people and the specific typologies of individual characters I can speak about the human condition as a whole. As for my monochromatic palette I started with film-based Black & White silver prints 20 years ago, and I’m still doing the same thing.

“Colour is too often related to commercial work and the little colour work I have done for my own artistic exploration has been done using a very subdued palette indeed. I guess I’m just trying to get as far away from the ‘postcard’ as possible.” Most of David’s work seems

to have been created in the form of a series… one image evolving into another. Flowing yet developing. So what is the reason behind the repetition of theme/subject? Is it a causal or a coincidental occurrence?

“I never premeditate my work, it starts with one image and often it stops there, sometimes I carry on a bit longer – exploring various possibilities in the subject, and sometimes, as in the case of Valletta I end up shooting for 18 years. It’s not planned. I just feel my way around until I think it is right to stop.”

Another strong element permeating David’s work is mood and atmosphere; so is this a projection of himself and his state of mind, or does context dictate and set the tone? “I would say that my images have a distinct contemplative calm about them, and yes I’m rather taciturn and contemplative (much to my wife’s despair!) and I’m very calm… some of

this inevitably seeps through into my work.”

Photography is decidedly a fine art, but on the scale of fine art practices, it ranks towards the lower end, at least on the local market, with few people viewing photographic works as an investment. Yet photography still necessitates a concept and a painstaking process. So, is this a myth which can be destroyed, or is it an aspect inherent of the genre?

“If you are speaking about the local scene then you’re right about photography being on the lower end of the scale. At International art auctions it’s a completely different matter. We have seen exponential price increases for photographic works of art and from an investment point of view some photographic works have outperformed any other medium.

“Fine art photography is a painstaking medium, good

31

DAVID PISANI

UNTAMED BEAST


Dav

id P

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togr

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by A

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prints are rare to come by and prints can only be made and authenticated as long as the photographer is still alive and practicing. They are individually printed and cannot be mass-produced, like digital images. Digital imaging has actually helped increase the value of fine art prints by emphasising the fine art photographer’s uniqueness over the mass produced digital print and therefore prices continue to rise.”

“The negative is comparable

to the composer’s score and

the print to its performance.

Each performance differs in

subtle ways.” Ansel Adams.

Man-altered coastlines, skyscraper cities, vanishing capitals... David’s projects have always captured much more than the mere confines of the frames they adorn.

“I don’t select a project; I’d almost say that it selects me. I was recently shooting around City Gate in Valletta and in particular the demolition of the gate and I knew that these were going to mark the end of my Vanishing Valletta project.”

In fact, David has been engrossed in a project titled TRANSIT over the past few months. Described as an urban art study on the social and urban changes of Valletta’s City Gate, it is a multi-layered collaborative project aimed at understanding and mapping the changes in human behaviour caused by the process of alteration of one of Malta’s landmark and historical sites.

“I don’t know what I’ll do next, which is part of the fun, my only wish is to be doing what I do for a very long time to come.”

“We must remember that a

photograph can hold just as

much as we put into it, and

no one has ever approached

the full possibilities of the

medium.” Ansel Adams

LG

Bridge Wharfe, Marsa , June 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.


33

Malta Ship Building, June 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.


34

Malta Drydocks, March 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.


MARBLE GRANITE TERRAZZO COMPOSITE STONE HARD STONE QUARTZITEShowroom: The Factory, Mosta Road, Lija LJA 9016 - MaltaTel: +356 21 433636 F ax: +356 21 412499 E-mail: [email protected] www.halmannvella.com

A NEW ADDRESSFOR DESIGN & STYLE

36

Sea Malta Building, January 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.




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1890 - 2010

... that little bit out of the ordinary

54, st. catherine street, rabat, malta | tel: 20 10 20 30www.camilleriparismode.com | [email protected]

caruana & cini co. ltd. (gozo representative)40/41 capuchins street, victoria, gozo | tel: 21 55 19 18

The Ultimate Control Over Light, Heat & Glare

Innovative made-to-measure blinds and shading solutions,

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