Nathan Portelli is a visual artist from Gozo. His deep connection to his homeland and his concern for humanity’s impact on it are the primary influences in his work. Portelli’s debut solo exhibition, titled Id-Diżappunt, is on at il-Kamra ta’ Fuq, until 13 April.
1. What’s been the most defining moment in your career so far?
It was when I successfully managed to produce a cement ġbejna straight out of the qaleb. This came with a lot of trial and error, seeing the countless sacrifices of failed ġbejniet in the process. It was an aha moment that I instantly knew would shape what was to come next in my work. If this defining moment is to determine my output short-term or long-term, I do not know. Undeniably, for the time being, I am fully absorbed in the experimentation of different cement consistencies and techniques to achieve the desired ġbejna effect according to the idea set for materialisation. The possibilities are endless and this local delicacy (now protected by the European Union) fits very well in my ongoing focus on the identity of the Maltese nation in the context of its challenges.
2. As an artist, how do you navigate the world and speed of social media?
I must admit this field is not my forte. Apart from not being tech savvy I am also not fond of spending too much time on my digital devices, especially so when I’m fully immersed in my work often forgetting to eat or drink for hours on end. By the same token, I surely do not feel pressured with catching up with the fast speed of social media. Those who know me can testify to my online absence at times! Spending time on a screen kills my spirit. I need to be creating things with my own hands; to transform my constant ideas into physical matter. Whilst without any doubt social media can be a fantastic tool for artists to connect with each other and their audience while bringing their work out there in public, I feel that sometimes there is more energy put on feeding the profile than on the content itself.
3. Do you consider artificial intelligence a threat to your career, or an opportunity?
Not really. Technology and its achievements have always worked alongside artists and somewhat influenced them but it has never fully replaced them. The best example that comes to mind is photography. Artificial intelligence can actually serve as a collaborative tool, particularly for conceptual and visual development artists in the brainstorming process, so I do believe the two can coexist harmoniously.
Having said that, I do understand why certain artists such as book illustrators or those in the animation industry for instance may feel threatened by the speedy advancements of AI. I am confident however that the lack of authenticity and surprise of this machine’s output will eventually push people to appreciate the work of traditional artists even more. Artists work through their souls and emotions; AI has neither of these (yet!). AI simply samples everyone’s art and then reformats it into something else and this is where in my opinion a valid concern arises about AI: Isn’t this plagiarism under the fancy name of Artificial Intelligence art?
4. How do you stay motivated and inspired, especially during tough times or when the work feels hard?
The challenge for me is actually coping with the abundance of inspiration that keeps flowing in. More often than not, a piece or a project will spark another idea or an alternative approach in tackling the same idea differently. Motivation follows course with the same speed, at times tempting me to put aside or even abandon whatever I might be working on to jump onto the next. Sometimes I will also stop working if whatever I am doing doesn’t convince my gut. It’s frustrating, to say the least, especially so when your great idea sets your expectations high! Has it ever happened that you witness a breath-taking view and you quickly take your camera out thinking; wow, this will surely make a great picture; but then it actually doesn’t when you look through the screen? When this happens, I will either have to unwillingly accept that the greatness of the idea cannot be replicated or else hope that it is simply not the right time for it to be materialised.
5. How do you balance your creative instincts with the expectations of your audience or collaborators?
I do not compromise when it comes to my artistic expression. I have a ‘normal’ job on a part-time basis outside my art practice which sustains me financially. Thus, when it comes to making art, I enjoy my absolute freedom and that’s the best part of it all! I do not make art with the intention to sell. I do what my gut feels like doing without any conditioning or constraints. My only constraints at the time being, are time and physical space, as I feel there’s never enough of these to facilitate the art-making process!
There were times, especially ones of financial demands when I had to paint for money. I was making art to please my commissioners’ sometimes strict requests and I hated each and every second of it. There is no pleasure, no purpose when work turns you into a machine. On the contrary, it’s a totally different experience when your audience or collaborators give you the space you need while trusting your authenticity and respecting your artistic freedom.
6. How do you approach a new project? Do you have a specific process or routine you follow?
The idea is normally sparked by a shock; a surprise that I either witness or become consciously aware of. Then I try to mentally work out how this idea can look like on the objective canvas. Sometimes this mental visualisation of the idea comes quickly and clearly, other times it takes months or even years. I like to take my time at this stage and I tend to mentally ‘purify’ the idea and ‘work it out’ thoroughly before attempting its materialisation.
Then comes the choice of the medium that I think would be most effective, the colour palette most appropriate, and the size that would work best for the idea. Once the materialisation process has been set off, the work itself takes over and starts guiding me and there goes the most exciting part of the journey! No matter how clear the mental visualisation of the finished work might look at its initial stage, it will always surprise me at the end.
7. Can you let us in on some of the future projects, works?
As I am due to relocate to a new studio I have recently acquired and which needs total renovation, for the time being, I will have to shift my focus on getting this project done. Although there aren’t any major art projects in the pipeline for the foreseeable future you will surely be seeing more of my work out there through upcoming collective exhibitions.
Extra round
Who are your biggest influences, and how have they shaped your work?
There are various great artists I admire for their contribution to the art world. From Caravaggio with his innovative use of naturalism and stark realism over idealised beauty to the more contemporary Anselm Kiefer through his exploration of his country’s post-war identity manifested in physically imposing large-scale work. As much as I can resonate with the works of such great artists, they haven’t necessarily influenced or shaped my work, or at least not directly. I must admit I do tend to work in isolation as an artist.
This article is supported by Arts Council Malta.
