the
paper
issue 1 1. 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 furniture 25% Summer savings on the following brands Antonello Italia, Md house, Alberta & GeD Cucine
w. ONEPERCENT.COM.MT t. 2546 5000 e. info@onepercent.com.mt A. VALLEY ROAD, BIRKIRKARA, MALTA
the
paper
Issue no. 1
The Archetype Paper The Archetype is a quarterly newspaper by onepercent ltd about design, interiors, furniture & art.
Date August 2011
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.
Art direction by werkdesigns.com Interviews by Lisa Gwen
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.
Editorial design by Matthew Attard Navarro Portrait photogrpahy Alexandra Pace To subscribe to the paper please do the following
Our special thanks go to the people who contributed to the idea and have worked hard towards its realisation.
Log on onepercent.com.mt
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
Subscribe in the ‘Archetype’ section Also available from onepercent, Valley Road, Msida, Malta
The onepercent team
onepercent.com.mt
4
section 1
must haves
SNAKE Available in leather & eco pelle
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.
Snake is available from onepercent at a retail price ranging from €1200 to €1920; footrest ranging from €545 to €980.
HAVE A SEAT A SELECTION OF DESIGNER CHAIRS
5
section 1
must haves
GASTON 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.
The seat is available in fabric & leather
The frame is available in white or black gloss lacquer Gaston is available from onepercent at a retail price ranging from â‚Ź1,350 to â‚Ź1,810.
6
section 1
must haves
VENUS 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.
Structure is in embossed plastic availble in black & white
Seat available in leather
Swivel base in metal, black or white
Venus is available from onepercent at a retail price ranging from â‚Ź800 to â‚Ź945.
7
section 1
must haves
GRACE 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.
Also available without arms Available in leather & fabric
With structure in walnut canaletto or spessart oak
Grace is available from onepercent at a retail price ranging from â‚Ź640 to â‚Ź940.
8
section 1
must haves
CAMILLA 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.
Cushions available in fabric & leather
Structure available in dark oak, or walnut canaletto
Camilla is available from onepercent at a retail price ranging from â‚Ź970 to â‚Ź1585.
9
section 1
must haves
DORIS Doris, mixes a traditional design with a twist. In sturdy solid cherry Doris provides comfort and brilliant design by Porada.
Back cushion available in fabric & leather
Structure in solid cherry
Grace is available from onepercent at a retail price ranging from â‚Ź880 to â‚Ź1240.
10
section 1
must haves
A L B A Alba, mixes contemporary design with comfortable seating which fits nicely both in a formal and casual settng.
Frame in solid ash or walnut
Removable seat in fabric
Alba is available from onepercent at a retail price ranging from â‚Ź1570 to â‚Ź1845.
11
case study section 2
Noel, floor manager at onepercent sits on a VENUS chair from POLIFORM, Anthony sits on a GASTON armchair from POLIFORM. Photographed by Alexandra Pace
12
section 2
case study
WHAT’S IN A NAME? name of the store; failing
to redefine ourselves, our
with a furniture outlet. So
such a way that as of next
to grasp the association 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
we
expanse of time.” In fact,
When in doubt, just call
on the Montagues and the Capulets.
Shakespeare
opened its doors – unlocking
an unprecedented sense of style and taste in relation to furniture design.
understood
So who is the man behind
the weight it carried. So how
was onepercent conceived
the importance of a name, is it any different today? Simple. It’s not.
and calculated man. Having
digits,
numbers,
percentages? How about a simple 1%?
Funny how, until recently, that
number/symbol
combination wouldn’t have
we are doing things so well that people automatically assume that the store is too
as an outlet which sells
often puzzled by the very
industry for the past 16 years, onepercent was a labour of love.
and evolution – a concept
with the only difference that
“So now we are seeking
explains how people are
energies in the furniture
But that changed a while
have managed to realise...
So who was onepercent
focused his attention and
Yet it is also a concept that
visuals in my mind’s eye.
they have almost reached
vision is all that we have
some 18 months.”
nevertheless
described as an exacting
triggered much in terms of
design-conscious lifestyle.”
Anthony
shining enterprise given?
about
all
their target, even though the
and what vision was this
Anthony Sammut can be
which
adhere and complement a
now growing steadily.
the brand? How and why
Names, symbols, brands,
logos... associations? How
which, upon realisation, is
environment
acheived and all that we
strategy
goal in a relatively short onepercent
the home and the living
well-aware that with our
would be able to attain our
when
high quality products for
Meanwhile, “I feel that our
onepercent
back
season we will be selling
to grow further than that. “Simultaneously, we were
“What’s in a name?” Plenty.
market and our territory, in
underwent a natural growth 13
store has only been open
expensive.”
created for? It was created
section 2
case study
furniture the way it should
of customers enter the store
how the store’s concept
means creating the perfect
This has earned them a
and focused on the people.
because they are scared of
attracting a sole elite client-
of each and every particular
the best.
be sold – focused on style
Anthony explains that there was a niche market which
needed tapping into. Others before him have attempted to
supposedly just to browse,
asking for prices. But are
then pleasantly surprised when prices are eventually quoted”.
go down this road, perhaps
Nevertheless,
model. So onepercent was
“our focus is the design
using the wrong business 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
the
store
was not focused around
base. “It was created for all those design conscious
During the years working
one special piece.”
Anthony has never come
for that person seeking that
Perhaps the Maltese have
conscious...”
inner-designer
store has also attracted a surprising number of foreign
customers, who were likely and
originally
drawn
to
onepercent because of highend brands like Poliform, among other labels.
Anthony once again stresses
customer.”
individuals out there, even
doesn’t cater for everyone:
Over the past 18 months, the
fit to suit the particular tastes
not yet tapped into their 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
in the furniture business, 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 peoplefocused.”
“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.” 14
reputation for being one of
Onepercent’s investments, strengths and energies, truly lie in their human resources,
which, coupled with a strong
product, brand and label creates
formula. LG
an
unbeatable
section 2
case study
15
Now is the time to invest in designer furniture 25% Summer savings on the following brands Antonello Italia, Md house, Alberta & GeD Cucine
w. ONEPERCENT.COM.MT t. 2546 5000 e. info@onepercent.com.mt A. VALLEY ROAD, BIRKIRKARA, MALTA
case study section 2
Pierre Portelli photographed with his latest installation at St James Cavalier by Alexandra Pace
PIERRE PORTELLI FEEL
17
section 2
case study
It’s big, it’s red and it’s bushy.
require a traditional gallery
Not bottle-brush bushy but
space
rather broom-bristle bushy.
exhibited or can it fit into a
“These pieces can be easily
and exhibited in museums,
undergoes
And four letters are carved
more ‘conventional’ space
relocated without any loss in
corporate boardrooms and
sometimes as part of a
into its rough ‘n’ tough
such as a home?
meaning. This is no different
even private homes.”
deliberate process that can
in
which
to
tentacles – F. E. E. L. It’s
a
work
of
art:
unquestionably
This did not mean that they
applicable
couldn’t
specific work but even this
be
translocated
from previous instances in art It’s
tactile, it’s fun, it’s bold. It’s
whole space.”
be
to
some
site-
transformation
render the piece more readily
Pierre explains... “With site-
history where paintings and
“The
to
displayable in a living space.
specific
large
sculptures were specifically
contemporary art, particularly
The larger installations, for
dimensions may be what
meant to be viewed in places
to mixed media art and filled-
instance are always recorded
installations
same
applies
Pierre
as limited edition prints as
Portelli.
are more fragile stand-alone pieces.”
Pierre’s strong penchant for installation art coupled with
“One can create a gallery-
innumerable stage, set and
like
book-design projects, has
space within an apartment
allowed him to take his work
or a house. The experience
to particular heights, explore
may take the form of an
size and dimension as well as
architectural contemplation,
experiment with multifarious
that would require a desire
textures,
surfaces
atmosphere
in
any
and
to enter into a dialogue with
concepts. The results are
the space in order to bring
expectedly unexpected.
about its transformation. It is ultimately always a question
Because multimedia artworks
of having conversations with
can
the client and the space they
take
on
any
form,
comprise/simultaneously
have in mind.”
incorporate a wide variety of materials, exhibiting or
the spatial dialectic requires.
of worship like churches
space pieces. Contemporary
In fact, the nature(s) of
showcasing
works
However, filled-spaces art
or cathedrals. They were
art has the same potential as
Pierre’s work has also taken
if
can
be
such
complex,
not
can easily be redone in
‘installed’ in specific spaces
any other art piece outside of
him, throughout the years,
problematic. So what exactly
other
because
where their meaning and
the ‘formal’ exhibition space;
to exhibit in a number of
does
contemporary
locations
and
there is coherence between
value was congruent with
it can be integrated within a
abandoned and dilapidated
conceptual art necessitate
the composite pieces of the
the symbolic and practical
non-exhibition space. This
spaces,
in terms of space? Does it
artwork rather than with the
functions served by the site.
of course would be less
shelters… more often than
18
warehouses,
section 2
case study
not, creating site- or space-
not
Like
isn’t a market because I do
specific work. But how about
in any other building, a
sell my work both locally and
‘home’ or apartment-specific
contemporary
abroad,
work; is there such a thing?
art piece within a given
installations,
“Certainly there is… a home
space in a house/apartment
pieces,
or apartment is a mosaic of
is a reworking of the here and
limited edition prints.
interior and exterior spaces
now, an integrative space.
an
exception).
site-specific
like any other building or structure
with
specific
from
site-specific filled-space
mixed-media
to
“It is probably more related “The
viewer
remains
an
to educating the potential
functions. Any site is a fluid
essential and integral element
buyer who would be unsure
weave of associations that
of the piece, despite the fact
of how conceptual art can
can be physical, emotional,
that a home is intrinsically
be acquired. This surely is
personal etc. Since space,
a private place. This would
not the case of buying art
like texture, colour and form
differ from traditional media
is tangible it can be shaped
like
to acquire new meaning. A
or photography, in that it
living space still articulates its
addresses the viewer directly
nuances and narratives, and
as a literal presence in the
that is both challenging and
space.”
sculpture,
painting
exciting.” “Mixed media work, hanging “There are a number of
pieces and filled-space art
possibilities
on the other hand, would
that
can
be
realised in living spaces from
not
necessarily
site-specific
the
surroundings
works,
filled-
include in
the
space work, mixed media,
composition i.e. they may
hanging pieces etc.”
or may not be site- specific. These can easily be created
Pierre explains how site-
or recreated for a living
specific work generates its
space.”
meaning and value from its relationship with the chosen
From one space to the next,
environment, generally within
does the interpretation of a
interior
(although
work change accordingly;
exterior open spaces are
would a different or new space
spaces
add layers to the original
integral part of the artwork.
concept, or transform it?
Furthermore a concept does
“Spaces are receptacles for
not necessarily have a one-
associations and the physical
to-one correspondence with
characteristics of a space act
an object; there is always the
as an inspirational catalyst
possibility of expressing it in
because
the
different forms. I view this as a
singular aesthetic dialectic,
positive aspect; challenging,
a configured space may
but positive.”
apart
from
and
functional
Pierre’s work can hardly be
narratives that render it all the
called commercial. This hardly
more interesting.”
means that contemporary or conceptual artworks cannot
“Every
work
is
informed
be
purchased
or
even
But
how
by the architecture of the
commissioned.
building that both hosts and
does one go about such a
becomes part of it. There is an
‘transaction’?
imperative
interaction between the two
“Easy, a call or an email
because
showing
architectural
space may also become an 19
the work evokes a sense of intrigue, excitement, a reaction, whether it is tailormade for a particular space or bought from an exhibition. “An
artwork
interest
would
suffice. I wouldn’t say there
a
that
could
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
transformational the
acquiring a work because
become
also carry historical, social, emotional
to match the curtains, but
section 2
case study
THE CREATIVE GENE The creative gene: Just like
selling, interior design seems
that interior design involved
the job done, the more costs
it is very easy for one’s budget
we inherit our parents’ prized
to have come to him by
much more than pushing
are incurred; and the higher
to skyrocket. So what areas/
or annoying habits could
instinct.
some furniture around the
the budget and the more
aspects of interior design
room.”
complex the project is, the
and decor should one never
we also inherit their sense of style. Taste. Aptitude for
He recalls how, “Most of the
more time is required. As to
skimp on? And contrasting
design. Creativity. Eye for
time I’d have the words at
In fact, interior design can
the most rewarding aspect…
on what should one splurge?
detail?
the tip of my tongue… I’d
be a double-edged sword:
that would definitely be the
want to tell our client to move
Kenneth explains how the
satisfaction in seeing the
“I always suggest to my
furniture around and change
most frustrating part of his
finished product and the
clients to spend a bit more
The answer seems simple enough. Yet science remains
on their kitchens and even
elusive.
bathrooms. Usable items in the house that need to be
On meeting Kenneth Tanti,
practical, functional and if
one cannot help placing his
possible indestructible!”
flair for interior design into a wider, genealogical context.
“There
Coming from a family and
specifics in an interior where
background that has been
one can reduce costs without
associated, even intimately
altering the ‘look’ or design
linked with antiques and
scheme.”
interiors
for
over
half
are
many
other
a
century, ‘tis no wonder that
“Quality always comes with
Kenneth gravitated towards
a price. One needs to set a
the discipline.
budget and a work schedule at the start of a project; this
But aside from the family ties,
facilitates the prioritisation of
what was it about interior
costs in order of necessity.”
design that first caught his attention?
Maltese homes can be a
Having
always
fascinated
by
homes
he
the layout as the present
job is dealing with deadlines
clients gratitude and joy in
challenge to work in; from
and keeping within budget.
achieving
historical
been
one was totally wrong and
the
grand
could have been improved
visited
their
envisaged
interior.”
when
drastically. This is when I
“It’s as though these two
meeting clients to discuss the
said, ‘Right, I must turn this
words are opposing poles,
For
furniture they were buying or
into my job!’ Little did I know
in that the faster you need
(and design-hungry) individual
20
buildings
having
acquired several structural accretions over the years;
the
design-conscious
to the pint-sized apartments labeled as family homes.
case study section 2
Kenneth Tanti photographed at his house with one of his dogs by Alexandra Pace
21
section 2
case study
“Challenging design aspects
modern
antiques,
The range of services which
always depend on the type
Asian objets d’art or anything
Kenneth and his team offer
of Maltese home we are
else.”
is extensive to say the
Yet their design services are
each item being designed,
least, ranging from a basic
‘built’ to suit the individual’s
finally leads into the buildup
furniture layout to a total
lifestyle and pattern, starting
of a high quality computer-
refurbishment project.
from a basic set of plans
generated
that matures and evolves
interior space in question.
pieces,
referring to. New builds and projects have small tight
“It’s
spaces, so one would find
priorities…
the lack of internal space as
clients living in a space. I
the main challenge. Trying
sometimes feel that one has
one
of
my
envisaging
main my
“Some clients are just happy
the actual works on site.”
sourcing of materials. The sourcing
of
samples
image
of
for
the
as steadily as the client-
to fit in every request by
They also accompany clients
the client and keeping it all
to
aesthetically pleasing. On the
to assist in the choice of
other hand, in larger homes
furniture
the challenge would be how
addition, they carry a vast
to blend in the different styles
range of fabrics within their
within the open space of a
company to facilitate the
large open plan; or how to
choice of soft furnishings.
partially conceal a kitchen from the living area. Each
LG
project comes with its own challenging case that makes our work as designers that somewhat more colorful.” Having
established
successful
Tanti
the
Interiors
business some 11 years ago, Kenneth consistently keeps
himself
updated
with emerging styles and
to be a bit of a psychologist
with a set of designs and
relationship
trends – travelling often and
when trying to discover the
plans in hand from us. We will
develops through the several
visiting as many design fairs
type of lifestyle a particular
layout the interiors and draw
meetings set.
as possible. Yet he feels he
client leads.” In this manner
them on plan. A complete
gravitates towards a design
however, Kenneth ensures that
‘package’ will include three
Furniture layouts, electrical
area that makes an interior
“each project is tailor-made to
dimensional visuals, on-site
and mechanical plans are
feel like a home. “Be it using
suit ones needs”.
inspections and also handling
then issued to lead to the
22
that
inevitably
interiors and
showrooms fittings.
In
case study section 2
Shawn Muscat photographed in his studio by Alexandra Pace
24
section 2
case study
MIRRORED Some people don’t always
3D Design from MCAST, he
look the part they play in life.
consequently obtained a BA (Hons) in Interior Architecture
Often however, it’s not that
and Design.
they don’t look the part, it’s just that we don’t stop to take
So he’s not quite an architect
note of tell-tale or giveaway
and not quite an interior
signs.
designer... he fits comfortably in between even though he
Creatives
usually
wear
their profession – it’s visible
states: “I don’t like defining myself.”
in their quirky shoes, in their
scarf
Shawn currently works full-
nonchalantly draped around
spectacles,
a
time with a local interior
their neck or a chunky piece
designer. But design is not
of jewellery. But does this hold
a nine-to-five job for him.
true for designers, architects
‘After hours’ he works alone,
– the largely prim-and-proper
from his parent’s garage-
segment of the creatives
cum-personal studio. There,
clan?
with random documentaries
MCAST I started creating...
the career world. “There was
still enjoy focusing on objects
playing on his laptop, and
experimenting with different
a time when I thought interior
– destroying them only to
Well, Shawn Muscat looks like
with the company of his pet
materials. I was not producing
design was a cliché. I thought
recreate them all over again.
your typical twenty-something-
bird Uno, he has managed
anything functional at that
there were many ways of
But I wanted a challenge. And
year-old. A little rough, a little
to achieve the right degree
point, just getting a feel for
tackling a space. I didn’t view
that’s when the thoughts of
rugged, perhaps. The shirt
of stimulus, distraction and
textures/surfaces. This was
it in terms of a discipline.
pursuing a course abroad first
might not be the norm as far
noise pollution which allows
an essential aspect during my
Perhaps because I was aware
hit me. That’s when I realised
as attire goes for someone
him to work, produce, create.
early training, even though I
of very few people who had
that interior design was not
was then unaware of it.”
managed to make interior
what it had initially appeared
design a profession.”
to be.”
his age, but what truly marks him and the nature of his work
Humble
are his shoes. Squeaky clean,
random and talkative, Shawn
And yet, even at that early
polished? Rather, white and
describes
importance
stage he was confronted
Although he’s always had
The
dusty – the true marks of a
of the role of MCAST in his
with a realisation: “That’s
a
architecture
man who walks the walk.
formative years before moving
when I started to realise that
drawing and design, making
followed in the UK gave him
on to becoming an interiors
it’s not enough to dream up
the shift from working in 2D
all the challenges he had
Shawn is a young product
architect. “I keep praising it
a project... it’s about finding
(flat) and then moving into
been craving, although at
of the Malta College of Arts,
[MCAST] because the value
ways to materialise it.”
3D, constituted somewhat
that point he was perhaps
Science
and
yet the
pleasantly
strong
inkling
towards
course
in which
interior Shawn
Technology
of what I learnt there has
of a revelation. “At first I
unaware of it. “I had to make
and of the University for the
been resounding throughout
On leaving MCAST however,
felt drawn towards product
a transition: from product to
Creative Arts in Farnham,
my brief career.”
Shawn confessed to feeling
design because there is a
interior design. Interior design
somewhat
unprepared,
stronger element of control
presents a very different scale.
immature even to set out into
– in my head it was safer. I
I used to focus on individual
UK. Having first obtained a Higher National Diploma in
“In my foundation year at
25
section 2
case study
elements. Back then I hadn’t
sensitivity
yet understood the relation between separate objects or
towards
space,
fields/disciplines.
The designer is merely meant
space and environment, not
environment and history is
Such as my relationship with
to represent a mirror. The
by the designer.”
manifest in the projects he
carpenters for instance... I
more one is informed, the
the relation between objects
has undertaken and those
feel it is important to cultivate
more the chance of reflecting
and space; or even whether
underway.
such relationships in order
that knowledge.”
the aspects being tackled
different
to understand the process
were practical, functional or
“My job is to deliver a
of making, of production...
“Interior design has no formula.
emotional.”
concept. The makers, the
as well as understanding the
All one has to work with are
manufacturers are the ones
strengths and limitations of
the ingredients; no recipe. The
Course complete, Shawn’s
who develop the product,
any given material. Only with
biggest mistake a designer
outlook towards interior design,
not me. Over the years I’ve
this understanding do I feel
can make is that of imposing
or rather interior architecture
learnt to develop relationships
that I have the necessary tools
their style on anything. Style
has evolved and his new-found
with
to justify any of my designs.
should be dictated by the
people
working
in
26
LG
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section 3
photo study
BEAST DAVID UNTAMED PISANI Photography
can
be
strange beast to tame. Especially Adams
when
calls
the
a
Ansel
shots:
“There are no rules for good photographs, there are only
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 and
with
titled Vanishing Valletta – documenting Malta’s capital
others
being simply and happily
content in reproducing or plagiarising another’s shots and frames.
Emirates Airline to create an
work is because I’m such
commissioned
by
architectural photo essay on Yet David’s Black & White
or monochromatic fine art photographs
are
lyrically
appealing; they are infused with a deeply nostalgic tinge
is where he succeeds so effortlessly.
trusts
paintings but people believe
because they seem devoid
and
‘scapes;
non-places;
of
and
spaces ripe with memory, sentiment.
Perhaps he is best known
very of
photographs
distinct,
any
not
popular
are
sole
individual characters I can
speak about the human condition as a whole. As for
subject
I started with film-based
Black & White silver prints
20 years ago, and I’m still doing the same thing.
the little colour work I have
away with – unless it is the
by eliminating people and
under
scrutiny. Yet man’s indirect ‘contribution’ is omnipresent
to commercial work and
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 30
this inevitably seeps through into my work.”
Flowing yet developing. So
Photography is decidedly a
the
fine art practices, it ranks
what is the reason behind repetition
of
theme/
subject? Is it a causal or a coincidental occurrence?
image and often it stops
imagery
has been altogether done
image evolving into another.
he explains.
“Colour is too often related
because the human element
the form of a series… one
“I never premeditate my
when there’s nobody about,”
only
or commercial colour but
to have been created in
times of day and situations
my monochromatic palette
everybody
comes in.
places,
consequently I seek out
the specific typologies of
and the viewer. And that
David’s
scenes
be alone when I work, and
– for both the photographer
or traditional aesthetic. And
He is photographer of quiet
a shy person, so I prefer to
“Having said that, I feel that
more poignant and personal
photographs.” Ansel Adams
that’s where David Pisani
there are no people in my
making these images all the
to move away from the confines of cliché, idealism
land- or seascape.
“I guess the reason why
was
“Not A few however, do seek
in his work – whether in
city – or for the series he
Dubai, titled the Future City.
good photographs”.
picture
for his 18-year-long project
work, it starts with one 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
fine art, but on the scale of 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?
not planned. I just feel my
“If you are speaking about
right to stop.”
right
way around until I think it is
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
the local scene then you’re 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
other medium.
any
“Fine art photography is a painstaking medium, good
David Pisani photographed in his studio by Alexandra Pace
section 3 photo study
31
section 3
photo study
prints are rare to come by
and prints can only be made
In fact, David has been
as the photographer is still
TRANSIT over the past
and authenticated as long 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
engrossed in a project titled few as
months.
an
urban
Described
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.”
photograph can hold just as much as we put into it, and no one has ever approached the full possibilities of the
“I don’t select a project;
LG
I’d
almost
say
that
it
Silver Gelatin Print – archival.
“We must remember that a
more than the mere confines of the frames they adorn.
Bridge Wharfe, Marsa , June 2009 – hand printed Chlorobromide
medium.” Ansel Adams
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.”
32
section 3
photo study
Malta Ship Building, June 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.
33
section 3
photo study
Malta Drydocks, March 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.
34
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section 3
photo study
Sea Malta Building, January 2009 – hand printed Chlorobromide Silver Gelatin Print – archival.
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