Sean Mallia

You were first a communications student and then a physics and informatics student. You also studied architecture. However, it seems photography is what really drives your inner passion. Is that correct?

It took a long process to find what I was really passionate about. All the years at University, both curricular and extra curricular, were interesting and have shaped who I am today. They also have shaped and still influence my work to this day. However, I always wanted to pursue a career where I would wake up every day filled with excitement, joy, fear, doubt, intrigue and purpose. I have this terrible affliction of having too many interests, a constant fluctuation of moods and a very short attention span, so following and deciding on one career path from a very early stage was never on my books. While studying architecture, I discovered photography. The two go hand in hand because they inspire and influence each other. Eventually I decided to focus on just that, my true passion.

Who/what were your early influences?

Form is what really excites me, visually speaking, so I always enjoyed looking at photographs, paintings, renderings and drawings that celebrate it. Architectural photography, nude photography, still life; anything that manifests any form of beauty, in the best light possible, became my muse. Looking at a finished product was never enough; learning how it is achieved on a technical level and understanding why beauty also has a function within our lives are also what fuel my daily quest for it. To answer your question it would not be enough to just mention photographers, architects or artists who inspire me. Because, from the start and thus far, the answer is that everything inspires me. Life itself, other inorganic matter, the light that renders it and the environment or space which encapsulates it all is a life force of inspiration.

How would you describe your style?

I would describe it in the same way I would describe my personality: a duality that has both sides constantly battling and contradicting each other. The side that triumphs – at least temporarily – is the one that reflects my alternating moods or my surroundings. I often absorb the energy of my clients or my friends and I transmit it in my work. Somehow during the years I have managed to master a way to make this tendency seem somewhat coherent. As a former architecture student in Malta, I am drawn to modernism because it is the most relevant and significant preceding era within our time. I and most of my generation that studied architecture therefore look for asymmetrical balance, discarding the over-decoration, function, abstraction and clean compositions. We challenge traditional aesthetic beliefs and practices. Another side of my soul however, seeks to be more dramatic and extravagant. My method is that I start from reality. I look at the product and I appreciate it for what it is. The next step is to go to a blank canvas and construct an elementary composition. When that part is done, I start to dream.

Fashion Shoot - Vernacular

There is a strong sense of detail, precision and symmetry in your work. Is your photography influenced by your architecture and physics background?

In any profession, you learn about the main topics that concern your field. More fundamentally however, you learn a systematic approach on how to understand a task and how to solve problems. This process can be translated and used across multiple professions and scenarios. While the knowledge which I gained during my years of studying different subjects does heavily influence my output, it is the process which I go through that I am particularly focused on.

You have often noted that Malta has a lot to offer in terms of architecture. Why is Malta architecture so inspiring for a photographer?

Maltese architecture has many layers, some of which are interesting and beautiful, and other, more recent layers, very disappointing. It is our job and duty as creatives to capture what is beautiful, but to also point out what is not.

What makes food so interesting from a photographic point of view?

Food to me is form, and more. I sometimes look at certain foods and I see a potential design for a building. Other times I see a potential statue that fills a space beautifully. Food can be seen in so many ways: essential nutrition, an item of luxury, an indulgence for the soul, a work of art, a statement, an aphrodisiac to our desires or all of these factors meshed together. So why not celebrate it today by giving it the spotlight like so many artists have done through still life in times past?

Tell us a bit about your latest project, Vernacular.

I was very pleased to be entrusted with this photo shoot - and yet also surprised. I have worked on fashion campaigns before, however I am not particularly known for it because I specialise in other genres. But when Luke Dimech, who is an up and coming fashion designer, approached me with this task, I immediately saw that he wanted to go for something different. His brand is called VERNACULAR and this particular collection is called 'One Eye Open'. We spoke a lot about his ideas, his concepts, his modus operandi, our mutual admiration of Irving Penn's work, 'gender-fullness', fabrics and still life photography. He wanted to go for something uncomplicated and familiar while telling a story that is nuanced. His first collection is centered on the artist at home, at work and in their own environment. So the images had to be less fashion-y, less glamorous and not overly produced. At the same time they still needed to evoke emotion and allow the user to dream through the use of light, texture, detail and abstracted styling. So it was a good fit that I collaborated with him and his team - and we are all happy with the result.

Does Vernacular indicate some form of shift in your work?

One of the reasons why I am pleased with this collaboration is because it coincided with my intention to take still life photography further from just objects, products, flowers, plants and food. I want to give still life even more life by adding a human element which gives it a whole new dynamic. This was a good first step and there is room for much more experimentation.

Has the COVID-19 pandemic affected your work and photographic mood?

In a way, it was a welcomed disaster. It reminded me that we need to stop and think about how good we have it. We had so many liberties and opportunities that we took for granted which at the moment are very restricted. In the meantime I took the advantage of catching up with a lot of pending things. It gave me the time to stop, reflect and breathe. We all need to adapt to the new circumstances and it never hurts to rethink new directions and new projects.

What's next for you?

My next step is to setup a permanent studio where I could do shoots for clients from one place but also use it as my fortress of solitude to work on personal projects. I need a space where I can think, conceptualise ideas, experiment, build and create. Once this is done, I look forward to many collaborations with other artists, designers, florists, models and retailers who supply beautiful items. Another move I also have been thinking about is to do more work abroad. Malta has a lot to offer but it also has its limitations. My mission is to have access to the best quality of items that deserve to be captured within a still life and have their beauty perceived through my style.

Hendrik Kerstens, Spout, 2011