We Can’t Be Lovers is personal as much as political – it goes beyond depictions ofintimate interiors, suggestive scenes and bold statements. Dynamics of relationshipsare changing so fast that on one barely has time to take in the changes and updates,let alone analyze the impact on our overall well-being.
We Can’t Be Lovers presents auniversal insight of imagery which is relatable on a personal level, just as much as aFacebook Wall is. What was considered private is nowadays exposed and flauntedwithout much assessment, with Tinder operating as a meat market and Instagram as a24/7 window shopping portal.Monoprinting as a technique is a delicate balance between a harsh, delicate line,haziness and accidental marks, perfectly illustrating the relation between onlinepersonas and possible virtual deceptions, as opposed to the underlying, harsh truth.Just like Internet memes, these monoprints blur the boundaries between text andimages; a staple in Falzon’s works.
This series deals with transgression and identity, blurring the boundaries between the physical and the virtual.
Vintage images of lust are juxtaposed onto found sources, to build dreamy, incomplete narratives. The images are portraits of lust for intimacy, while online sources and apps serve as a cheap, easy alternative. The individual feels detached from real world while ephemeral virtual reality is immediate and more significant. The unlimited possibilities made available by the virtual platform build tense situations based on the promise of more excitement and fulfillment. As on the free-flowing digital media, where adrenaline is fed to the mind via a screen, the dynamics of relationships are changing so fast that one barely has time to take in the changes and updates, let alone analyze the impact on our overall well-being.
Various works from the series have been exhibited in a number of collective exhibitions. All prints are one offs, with a majority being intervened on with different media.
Grounded in local references and imagery, this exhibition incorporates pop and punk imagery with Byzantine art to create a contemporary morality tale in a narrative that references both recent local events as well as universal themes. There is an appropriation of recognizable visual elements of local popular culture and subverts them to challenge notions of belonging and alienation.
"Ex Voto" is a project that revolves around Christian iconography, the conditions of living on an island and the relation to the sea. Maltese seascapes are depicted in contrast with urban Berlin landscapes to create platforms on which solemnly silent figures exist.
The works explore the ambiguous relation between the sea and the individuals who feel threatened by the physical isolation that it creates, but also feel that the sea gives them an identity, at par with their Catholic upbringing. This body of works bears testimony to contemporary salvation, liberation,and an introspective journey which often leads to solitude.
Back in the 90's, Rhythm is a Dancer blasting out from every bar and car, Escorts, Capris, Triumphs, all modified and tinted up...memories of being a kid during a 90's summer in Malta. I can remember that all of us boys wanted to get our left ear pierced (either a petite gold ring or chunky fake silver one), get a cool car, write the name of our favourite song along the windscreen and go to rave parties, which were the new place to be and where young ones did drugs and had a blast...yeah a couple died, but most didn't.
The prints capture the spirit of a country which back to 15 years ago was more laid back and laws and regulations were easy to bend. Linking teenage love, cheesy pop songs and fatalities, these works were done in bold, sharp contrasting colours that shows an "in your face" attitude.