I have been working quietly on this project for over a year now, as a tribute to the colourful luzzus of Marsaxlokk, the fishing village I now call home after many years away. The works feature both imagined boats and those rooted in lived observation, existing in a space where realism meets abstraction. Together, the pieces function like tiles- each one holding a different identity, memory or perspective of Marsaxlokk. In a modern age that feels increasingly complicated, confusing and less human with each passing day, I wanted to return to colour, simplicity and the essence of working life. Marsaxlokk is a traditional village slowly being reshaped by change. This collection seeks to honour and immortalise its vibrant colours, its fishermen and the daily rituals that made the village what it is. As the world grows more heartless, more soulless and increasingly grey, this collection stands as an act of appreciation and respect for a traditional way of life, preserving its beauty, character and identity.
This project also marks an exploration of a new technique I developed using papier mâché and resin, alongside materials like sand, salt and more- pushing their possibilities to see how far I could take them. The use of resin serves to seal these memories and identities in time, fixing them in a durable, lasting form. Each piece is fully solid, built to stand the test of time and sits somewhere between a painting and a sculpture. Every work feels like a portrait to me, capturing the identity of each individual luzzu, inviting the viewer to consider the lives of these boats and to wonder about the journeys and adventures they may have shared with their owners across the wide Mediterranean Sea. The surfaces are informed by the fishermen’s boats themselves- carefully tended to, decorated and blessed, painted with protective eyes that speak to gestures of care, belief and tradition. Through exaggerated reflections, heavy skies, and shifting textures, the techniques communicate specific atmospheres and moments of the day, allowing distortions to shape the emotional tone of each piece. While the work is underpinned by a considered concept and a response to the complications of modern life, I deliberately hide this maturity behind a childlike sense of play: an exploration of material, process and curiosity expressed through a series of small works, rooted in gratitude for the place I now call home.
N 1
N1 is the most personal piece in the series. It depicts my grandfather’s boat, floating on an empty ocean, suspended like a memory. My grandfather is in heaven, and this work was created as a gift for my grandmother. On the boat are my grandfather, my grandmother and all of their children, gathered in a space that feels suspended in time. This piece is the most realistic within the series. While other works explore abstraction and varied textures, here the image remains restrained. Built through layers of resin, acrylic paint and wet paper on wood, the stillness of the sea and clarity of form reflect the intimacy of the subject.
N 2 - N 5
Pieces N2 to N5 depict the traditional Maltese luzzu, each one illustrating four real boats that float along the harbour in Marsaxlokk. They are created using the same technique as the previous piece. These pieces depict true portraits rather than inanimate objects. In a world increasingly shaped by modernisation and the loss of identity, these boats continue to hold onto theirs. Each luzzu carries its own colours, forms and details which tell a different story and hold a distinct history.
N 6 - N 14
Pieces N6 to N14 serve as an introduction to the techniques which will be explored throughout the series. While maintaining the same perspective as the previous four works, these nine pieces move beyond realism and into experimentation. Each work focuses on a different material or process. N6 introduces a subtle sense of three dimensionality alongside an exaggerated use of colour, an intermediary from realism to abstraction. N7 is composed almost entirely of crepe paper set in resin which gives it an alluring aura when viewed in real life. N8 explores pointillism, resulting in a calmer, more meditative surface, while N9 shifts toward abstraction and fragmented colour through collage. N10 experiments with the natural resistance between oil pastel, acrylic paint and resin, materials that do not typically work harmoniously together. N11 combines resin and paper simultaneously in a thicker, more sculptural manner. N12 relies primarily on papier mâché with minimal acrylic intervention. N13 incorporates polyester wool and N14 introduces sand, surprisingly one of the easiest techniques to work with. Together, these works act as a bridge between representation and material exploration, opening the series into a more expansive visual language.
N 15 - N 23
Pieces N15 to N23 run parallel in technique to the previous works, but shift in perspective, drawing the viewer closer to the luzzu's and emphasising their presence as portraits. Each of these pieces represents a real boat found along the coast of Marsaxlokk. Here, the viewer is brought closer, allowing the details of the painted eyes to come into focus. These eyes are ancient guardians rooted in Phoenician tradition, believed to watch over fishermen at sea, protecting them from misfortune and guiding them safely home.
N 24 - N 29
Pieces N24 to N29 draw us even closer, letting us gaze into the eyes of the luzzu, wondering what waves and weather they have seen. They focus on the details of real luzzu eyes and the sculptural birds that adorn fishermen’s boats, quiet symbols representing a silent prayer and a subtle reference to the dove in Noah's ark. This group of six works are made almost entirely from papier mâché, fixed into place with resin. When seen in person, these pieces are highly three dimensional and surprisingly light, emphasising their sculptural presence. This series itself is like an essay with a clear beginning, middle and end and these six serve as the end of the introduction, bringing the viewer fully into the world of the luzzu's. In the rest of this project, each technique is explored further, revealing new perspectives of Marsaxlokk- through a window, a doorway, a child's eyes or a fisherman's gaze. Some views are utopian, others are rough. Some are surreal and others are peaceful. Marsaxlokk is a place alive with colour, character, memory and light.
N 30 - N 33
Pieces N30 to N33 dive headfirst into a utopian world, reflecting a colourful, simple and childlike life - a window into a possible future. Created with papier mâché, crepe paper and sealed in resin, these works are closer to water collages than traditional paintings. Almost no paint and no glue is used and the process is highly dependent on water, allowing the materials to merge more organically. The pieces are three dimensional yet remarkably light. They are also the first in the series to depict the progression of the day, from morning to night, introducing a temporal layer to this imaginary world that one can dream about.
N 34
N34 is the medium-sized piece of the "utopian" part of the collection, positioned at the centre of N30–N38. It serves as a conclusion to this part of the series, the first paragraph in this essay-like collection. This night-time scene radiates peace, where the flowers in the interior design of the decorated window seem to fall down on the window sill. Here, the stars in the sky emerge in the same way as the flowers, creating a gentle sense of light even in the darkest of nights.
N 35 - N 38
Pieces N39–N38 continue in the same water-based paper technique as N30–N33, but with more decorative flourishes and curious perspectives, a gently curved window here, an unexpected archway there. These works also introduce the small, lively inhabitants of Marsaxlokk’s streets: the lazy cats lounging in the sun and the comical geese that wander freely along the harbour roads. Through pieces N30-38 my intention was to depict Marsaxlokk through a child's eyes, in a very colourful and graphic style. Now- onto the next technique, the next paragraph of the collection.
N 39 - N 41
Pieces N39-N40 introduce the technique of pointillism in this project. Creating dotted texture onto wet paper was interesting to me because it creates an embossed texture when viewing these pieces in real life. In these pieces, I focused on capturing the shimmering reflections of the calm water, with clouds in the sky introducing a sense of abstraction. This triptych was actually the first painting I created in this whole collection, which I began while I was still in Brussels, dreaming of my eventual move to Malta.
N 42 - N 45
Pieces N42–N45 continue to explore the technique of embossed pointillism on paper, referencing directly from photographs I took of boats in Marsaxlokk. For example, the boat Titanic (shown in N42) a small vessel that often drifts near my home, is a humorous and playful nod to the famous unsinkable ship. The dotted technique in these works evokes a calm, dreamlike serenity and when seen in person, the embossed effect combined with the glossy resin adds a tactile, shimmering texture that enhances the sense of depth and atmosphere. These pieces seem like they are reflections from a dream, where one cannot see clearly, like looking under the surface of the water.
N 46 - N 48
Pieces N46–48 form another triptych, delving even deeper into the surreal and dreamlike possibilities of this technique. Using bold, block colours like tangerine orange, cherry red and the deepest blue—these works evoke a strong sense of atmosphere and an otherworldly mood through these colour-block skies. The first depicts a jellyfish drifting through, the second features a gigantic moon accompanied by a mysterious red cloud or creature and the third presents a silhouetted figure against the sky, also referencing the festa of Marsaxlokk when there are many fireworks that light up the night. The perspective is drawn from the port on the outskirts of the village, near the power station, where we used to go swimming, grounding the dreamlike imagery in a familiar memory of mine. In these three pieces I wanted to depict a sense of mystery and fantasy. This is the conclusion of the second technique, the second part of the essay of this collection.
N 49 - N 52
Pieces N49–N52 began with a simple intention: to give new life to leftover scraps of painted paper. I slowly collaged the dried fragments onto papier-mâché, filling in the white spaces and gradually, shapes began to emerge: forms that seemed to look like boats, birds and clouds started appearing in the shapes. From this gentle process, a new technique emerged, one that would continue to unfold and evolve through to piece N57.
N 53 - N 56
Pieces N53-N56 continue from the last artwork but they explore fractionated and prismatic colour further, offering a magnified view of water’s reflections. The boats in these four pieces start to dissolve into texture, their boundaries fading as they merge with the surrounding environment. Inspired by ripples and shifting light on the water, they exaggerate the abstract reflections seen in real life, bringing them vividly to the surface. Sealed in resin, it preserves the intricate details of the Maltese luzzu, vessels deeply embedded in Malta’s cultural identity.
N 57
N57 is the medium-sized piece in the “fractionated” section, concluding the technique shown throughout pieces N49–N58. This circular work is the most colourful of the nine, the fractured colours creating a turbulent, but yet balanced energy. The landscape contrasts with a floating, three-dimensional cloth that gently wraps the luzzu. This offers a subtle gesture of peace, a brief moment of visual rest suspended within the surrounding chaos.
N 58 - N 63
Pieces N58–N63, which I refer to as the clock pieces, trace different moments throughout the day, from morning through to night. These works are made with almost no paint, relying instead on coloured papier-mâché and resin. The soft, pulp-like nature of the paper allows the surface to retain a gentle, muted quality, absorbing light rather than reflecting it sharply. This material softness gives the pieces a quiet, suspended feeling - as if time itself has slowed. In this stillness, the boats appear almost sleepy, resting within the rhythm of the day and the stillness of the night as it passes.
N 64 - N 72
Pieces N64–N72, which I refer to as the puzzle pieces are made using a technique similar to the previous six works, relying almost entirely on coloured papier-mâché and resin, although this series incorporates a greater use of acrylic paint. Drawing directly from real boats in Marsaxlokk, I wanted to give appreciation to their individuality by highlighting their adornments and symbolic details- like lions, lambs, and doves. The composition suggests a sea dense with boat traffic, while the white seagulls moving through the surface give this series a restless and flighty energy. As I painted each luzzu, I found myself wondering about their stories: their histories, their lives at sea and the personalities they might carry. In this modern world everything is losing its character, but these boats hold on to theirs.
N 73 - N 76
Pieces N73–76, referred to as the cloth pieces, explore cotton fabric as a sculptural element, combined with oil pastel, acrylic paint, papier-mâché and resin. The cloth was once my grandfather’s cotton vest, something he may have worn while working at sea as a fisherman, carrying the quiet memory of salt, labour and time. These materials were difficult to bring into harmony, as they naturally resist one another, oil pastel pushing against resin and acrylic paint refusing to settle. This resistance became part of the work itself: a gentle struggle that I always feel when I look at these four pieces.
N 77 - N 85
Pieces N77–N85 are the most experimental works in the project. Reaching its final stages, I allowed myself a more intuitive approach, introducing salt, sand and unconventional uses of resin as material experiments. Many of these materials are local- sand gathered from the beach of Marsaxlokk and salt drawn from the coastal outskirts of the town. When viewed closely, the experiments begin to echo one another. N77 and N85 are highly three-dimensional, their curved surfaces resembling fish scales or the rolling motion of the sea. Each layer of paper is thickly coated in resin, preserving the form and holding it in place. N78 and N84 are composed of salt, each dot in the piece is a grain of salt from the sea of Marsaxlokk. I fully expected the salt to dissolve beneath the resin, but it remained intact, quietly resisting expectation. N79, N80, N82 and N83 explore the interaction between acrylic paint and resin, allowing them to flow together and form unpredictable patterns. The process demanded speed, as the materials set quickly, leaving little time for control. At the centre of the series, N81 is an experiment with sand, surprisingly one of the simplest and most satisfying techniques to work with, producing a dense, grounded and distinctly original, unique and weighty piece.
N 86
N86 is the final circular work in the series of three-dimensional paper pieces, where sky, sea, and boats share the same flowing and continuous quality. Colours fill the skies and the seas and are deeply satisfying to me. Loosely drawn from a reference photograph I took in Marsaxlokk, the forms blur into one another, allowing movement to lead the composition.
N 87 - N 92
Pieces N87–92 form the final experiment of the project, using polyester wool as the base layer. Though highly absorbent of acrylic paint (making it one of the most time consuming techniques), the material lends itself unexpectedly well to creating rhythm and movement across the surface. The result is a series of six small, highly decorative works in slightly cooler tones, giving the impression that some are suspended in clouds or drifting through calm, wavering winds. The birds echo those seen at the beginning of the project, though here they are entirely imaginary and not references from adornments on real boats- formed from the same thread as the skies themselves. In this way, subject and landscape merge and the boundary between interior and exterior dissolves, a recurring theme throughout my work.The subject is the place and the place is the subject.
N 93
N93 is the final piece of this project and one I hold close to my heart. Made with polyester wool, acrylic paint and resin: the clouds, sky, birds, fish, and sea are all woven from flowing strings that twist and connect. Looking at it feels like a gentle step toward what comes next- larger pieces, other corners of Malta and the quiet, spiritual pulse of places that mean so much to me that I am looking forward to sharing with you all. This project was an experiment in colour, texture and playfulness, a reminder that art should be joyful and alive. And beneath that, it carries a love letter to my hometown and the boats that float in its waters, witnesses to the life and rhythm of the place I call home.
Thank you!