The Mill Art, Culture and Crafts Centre, Birkirkara - Malta (2021)

Artists: Emma Fsadni, Martina Camilleri, Sarah Spiteri
Curator: Elyse Tonna
GCF Programme Manager: Raffaella Zammit



part of the Gabriel Caruana Foundation SPRING (v1.3) Artistic Programme for Emerging Artists 2021

curatorial note

The underlying narratives suggested through the work of these artists are bound by the presence of incompleteness, experimentation and fragility. Martina Camilleri, Emma Fsadni and Sarah Portelli present various facets to disparate and ever changing situations such as development, psychological insecurities and representation of women. Taking on a playful approach, each interprets these vast, frangible issues through unwoven fabric, sound, pattern making and painting. The choice of medium helps to further reinforce subtle relationships deriving from inconclusive connotations with an array of possibilities for interpretation. The imperfections as sustained by the materials used instil a sense of vulnerability.

In a society consumed by consumption, the exhibition puts focus on the ways we are absorbed by new technology and how marketing has facilitated unequivocal interpretations of the female form. It also sheds light on our incongruous visions towards urban sprawl. As a means to counteract these consumeristic attitudes, Martina, Emma and Sarah make use of upcycled materials, forms and repurposed tools to create works which are adapted to suit the conditions they are presented with. In the context of The Mill, Emma’s work draws parallels to Gabriel’s work in terms of colour and forms by presenting work-in-progress reflecting an ongoing process of adaptation. The latter is also reflected in Martina’s work with her site-specific intervention composed of intentionally dynamic and unrefined fabric and a soundscape deriving from the surroundings of The Mill itself. Sarah’s work draws parallels with prominent surrounding commercial activity and highlights irresponsible disposal of waste such as pastizzi bags. She draws parallels between the commodification of the female body as a means to attract and elevate commercial products.

Although the issues presented here are distinct, the attitude towards their resolution is congruent and similarly pertinent. Unwoven, as an exhibition, is deliberately everchanging, an experience with fluctuating sounds and movement and continuously shifting perspectives.