Page 1

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.

36


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