IN BETWEEN MATTER & FORM: A REFLECTION ON PAUL SCERRI’S SCULPTURES

Words by Roderick Camilleri Photography by Thomas Scerri

Paul Scerri’s artistic career spans over more than forty years. He started his early formative training under the tutorship of the renowned artist Esprit Barthet, and furthered his studies in Italy, at the Accademia Belle Arti Pietro Vanucci (Perugia), and the Istituto Statale D’Arte G. Ballardini (Faenza). Furthermore, he consolidated his technical proficiency in ceramic tile design in Imola (Italy). Paul Scerri's work was acknowledged in various art contexts, such as in the '1° Concorso Avis', held in Faenza, where he was awarded the first prize in ceramics.

In the hands of a seasoned artist, the humid tactile earth that we call clay is turned into an abiding matter. It is sequentially transfigured. Moulded when wet, hardened when dry, and crystallised when fired—such unassuming matter transmutes into an undying aesthetic moment of contemplation. These are the first immanent thoughts that arise when one is confronted by an appealing and intriguing ceramic piece like those created by Paul Scerri. This existential engagement with the raw material, the intimate, delicate pairing between artist and matter, emanates intriguing creations we cherish as fine art.

The respect and sensitivity which Paul Scerri shows for his medium are revealing. This entrancing charisma imparts in the formation of his meditative works. His particular sculptures illustrate metaphors, voicing the basic elements of humankind, coloured by personal connotations, experiences, and feelings. His oeuvre tells us resonant statements about humanity, using the barest minimum. It narrates without using definite descriptions. It is direct yet mysterious, prominent yet silent, present yet discrete. These are amongst the characteristics which define Scerri’s work. The alluring facets of his art are in part powered by their unique, suggestive nature. They are like receptacles or containers, pregnant with meaning and significance.

Sculptures such as Society and Uncountable Sins illustrate attributes of our society’s weaknesses, flaws, and follies. The former represents three intriguing cryptic epicene figures. The one in the centre is looking outwards, flanked by two figures on each side—one holding a golden mask of a pig, the other wearing a mask of a donkey. These enigmatic guises bring to mind the medieval masks of shame, meant to demean particular offenders, which might be personifications of contemporary personas who are dominating the façade of our local community. Their modernity endures not only because they are rooted in our current situations but also because they bring to mind universal testimonials that teach us implicit values in their subtle irony. Their open-ended messages tease out current topics by instilling reflection. Uncountable Sins is yet another lyrical specimen that resonates with these attributes.

Of particular curiosity are works that display symbols such as scissors or prosthetic noses. The tactile quality, chromatic timbre, and delicate simplicity complement the visual strength of these pieces. The eloquent and equivocal motifs provoke a recurrent engagement, a kind estrangement with the artefact, alluring the viewer as much as they make them aesthetically engaged or involved. Sometimes, such artistic imagery mirrors a twofold contrasting interpretation—one might find them inspirational, intriguing, ironic or even sardonic. Motifs such as cutters can be read as existential allegories for a particular undoing or a kind of separation of life; or, on the contrary, as a suggestion to spiritual unison and physical connection. The golden aquiline prosthetic nose might be seen as an allusion or personification of pretentious personas and their typical satisfaction with their special superficial trophies, which are nothing more than artificial fabrications.

The power of these idiomatic juxtapositions acts like intellectual hinges on which we connect or attach our personal individual ideas or thoughts. A recent body of work that also echoes a similar character is the Mano Poderosa series, which narrates symbolic anecdotes by representing one of the strongest imprints of humankind’s presence—namely, the hand. This stands as the definitive representation of humanity. The most recognisable part of the human body, it has yielded profound connotations since time immemorial. Deemed ‘the tool of tools,’ the link between the intellectual and manual faculties, the hand acts as a malleable organ, a beacon - and ultimately, a key instrument. The Key to Alchemy and The Prodigal Hand are just two examples of the many interpretations pertaining to this collection. Insightful allegories, recalling peculiar, intriguing pre-Christian cults and representations of the hand of Sabazios and its subsequent Christian traditional adaptations found on saint cards or votive imageries. The artist extrapolates different alchemical and emblematic themes and enfolds these images into his unique indelible expression. Through his inventive exertion, Paul Scerri casts his suggestive layers of interpretation to add to this boundless theme of human representation.

This narration is simply an introduction, a brief outline that scratches the surface of Paul Scerri’s versatile artistic insights about the human condition. His oeuvre provides food for thought and stands firmly in its unobtrusive silent space, awaiting to be revealed to its keen audience and readers.

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