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It is always with a special delight and an uplifting sense of gratification that I occasionally find myself introduced to some new name in the world of local art, especially where real talent is involved. Among the latest discoveries at that level was Carmel Cachia, whose first one-man exhibition is currently being held at the Galleria Liberte' at the Workers' Memorial Building in Valletta. Born in 1972 in Naxxar where he still lives, Cachia attended courses in graphic design and ceramics (for the latter under the tuition of Tony Briffa and George Muscat) at the Salvatore Dimech School at Targa Gap in Mosta. He is also a past student at the School of Art as well as at the life classes organised by Anthony Calleja. Though Cachia is a relatively new-comer as an exhibiting artist, he has been in fact active for quite a number of years, working in different genres, media and techniques. However, since his participation in collective exhibitions has been very sporadic, his Valletta exhibition is the first occasion whereby the visitor can have a broad idea of his talents and the commitment with which he works. The exhibition is entitled Peasaggi, consisting of 18 paintings in acrylics, covering the period 2001-2004, the majority of which deal with Maltese landscapes and four with views of Venice. Four of the paintings, namely Xewkija I, Mgarr ix-Xini, Rabat I and Bahrija, are reproduced as lino-prints which, as an appended note informs the visitor that they are entirely made by hand without any mechanical means. The Venice
scenes are a rapturous celebration of the watery reflections of the
buildings along the canals. One in particular,
Venezia I, seems so taken in by the
wavy reflections that a substantial section of the painted surface is
occupied by those effects. The only other exhibit with an urban subject is
Valletta,
depicting one of the minor narrow streets of the city where no human
presence can be noticed. This is in fact one of the main things to be
noticed in the work by this artist - his preference for peace,
tranquillity and the 'away from it all' scenes, even within the busy life
of a city. For Cachia landscapes are there to be enjoyed in their pure, untainted qualities. He selects spots where though human activity has been largely responsible for their making, it either remains in the shadow or simply whispers in the lowest of tones. With Rabat II it is a chaste palette that accompanies the furrowed fields, in Mtarfa I we are led through a country lane, or else we wend our way along rubble walls as with the two versions of Xewkija. One of the most quixotically inspiring paintings that I came across is Mtahleb I where isolated boulders provide a 'larger than life' focus for the contemplative spirit in the viewer. It is through such instances where the artist can help the spectator to realise the poetry ingrained in these small corners of our countryside.They are not the spectacular scenes that leave you breathless but modest ones which provide the required dose of solace to hectic life. Cachia leads us to appreciate the beauty of the cultivated fields with their patchwork of colours, as in Mgarr ix-Xini, the sunlit vista of the Maltese Mgarr sprawled in the middle distance, or the dark silhouettes at the break of dawn (or at the end of the day) of the terraced slopes at Ghajnsielem. Considering Cachia's penchant for the sedately stable, despite his fascination for the ever-changing reflections in his Venetian scenes, it is not surprising that he opts for rather flat colours for his palette. In so doing our perception is aided in grasping the sense of unencumbered images in his paintings. In the work by Carmel Cachia I feel that coupled with his solid technique he has given clear statements about his agenda, namely that of being an artist who sees in his activity a means towards distilling beauty out of what inspires him to paint. Here is an artist in fact who makes you look forward to his future development. |
