At il-Kamra ta' Fuq, the momentum never slows, and we're kicking off the year with Figure It, an exhibition by the acclaimed Anna Galea, opening on January 5th.

Anna Galea is renowned for her large-scale floral and marine watercolors, striking oil paintings, and bold abstractions. However, during a recent visit to her studio, I was captivated by her revelation: she has been drawing and painting nudes from live sessions for years, yet these works have never been the focus of a solo exhibition. Naturally, I was eager to change that.

This exhibition showcases a selection of works spanning over two decades, creating a retrospective of Anna's exploration of the human figure. Through these pieces, we witness her mastery in capturing the essence and dynamism of the nude form, offering an intimate glimpse into an often unseen facet of her artistic journey.

Anna Galea, tutored by renowned artists Esprit Barthet, Sarah Warren, Harry Alden, and Anton Calleja, has showcased her work extensively on an international stage. Highlights include the Florence Biennale in 2023 and solo exhibitions at the Malta National Maritime Museum (1999), the National Museum of Fine Arts (2003), and DIFC Dubai (2014). Notable duo exhibitions include Women's Perspectives in Washington, DC (2018), featuring paintings by Anna and photographs by her daughter, Stephanie, and a collaboration with Emirati star artist Azza al Qubbaisi in Abu Dhabi (2021). Her work was also featured at the Maltese Pavilion during DUBAI EXPO 2020.

Galea has received numerous accolades, such as the Best Watercolor Award (1998) and the Silver Palette Competition (2002, 2004). Her art has been featured in various publications, on phone cards, and book covers, and resides in prestigious private and institutional collections worldwide. Currently, Anna divides her time between her studio in Malta and her studio in Altipiani di Arcinazzo, Italy.

The works exhibited in Figure It span from 1999 to 2023, offering a retrospective of Anna Galea's exploration of the human form. These pieces, created in various media including watercolor, charcoal, chalk pastels, and oils, showcase figures in predominantly reclined and relaxed poses, exuding a sense of ease and tranquility. A few exceptions, like On Hold, capture more dynamic tension, with the model precariously perched on a walking stick and leaning slightly backward.

Among the collection are three depictions of male nudes: Foreshortened Male, Lifeguard on the Watch, and Moments' Break. The first one demonstrates Galea's mastery of foreshortening, with complex perspectives of the reclining figure rendered with bold precision. Moments' Break and Lifeguard on the Watch, created during her time in Dubai, hold a special place in her journey. Influenced subtly by the region's customs, this piece features a partially draped figure, reflecting local traditions while presenting a nuanced contrast to her more conventional portrayals of the nude.

In these works, Anna Galea captures the raw, unembellished essence of the human form with striking immediacy. Her choice of media aligns seamlessly with the emotion and spontaneity of each moment. Many pieces were created alla prima, completed in a single sitting, reflecting the dynamic energy of live sessions. Some were drawn in mere minutes, showcasing Galea's ability to distill the essence of her subjects with remarkable speed and precision.

Longer studies, lasting up to 20 minutes, offer a contrasting depth, revealing a more contemplative engagement with her models. These works embody a delicate balance between the spontaneity of the present and the thoughtful exploration of form.

Galea places the human figure at the center of the composition, with minimal use of props in this body of work. When props do appear, they are thoughtfully integrated. For instance, in Lady with Hat On, the figure dons a large hat and what seems to be a bathing suit, adding a playful twist to the piece. In Observant, the nude figure reclines teasingly on a delicate stand, while in the aforementioned On Hold, the prop - a walking stick - contributes to the tension of the model's posture.

Semi-nude pieces like Think Thong draw inspiration from classical "Odalisque" poses, focusing attention on the single garment, as suggested by the cheeky title. Conversely, No Thong presents a full nude in a similar pose but diverges stylistically. Here, a bold abstract background contrasts sharply with the unpainted figure, allowing the paper itself to define the form, creating a striking interplay of positive and negative space.

Galea's titles reflect her playful approach and hint at her enjoyment of these fresh, spontaneous studies. Whether quick sketches or more elaborate pieces, her works convey a sense of immediacy and joy in exploring the unembellished human form.

One particularly intriguing piece, especially given the absence of props, is Gazing into Space. Here, the model rests her elbows on an unseen surface, leaving viewers to imagine its presence. Remarkably, Galea conveys the weight of the body over this invisible support with masterful subtlety - achieved through just two light strokes of watercolor, creating elongated arm shadows. This delicate detail transforms the composition, grounding the figure in a tangible, albeit imaginary, space and showcasing Galea's ability to evoke realism with minimal intervention.

Two particularly cherished works by Galea depict young girls, both fully clothed and executed in charcoal. In Pensive Girl, the subject sits comfortably in a semi-profile pose, one leg tucked under the other, her expression reflective and serene. Girl Reading captures a girl deeply engrossed in a book, lost in a world unseen by the viewer, entirely unaware of her presence being immortalized on paper. These intimate portrayals showcase Galea's sensitivity to quiet, everyday moments.

In contrast, two unique works stand apart and can be viewed as a diptych or set. These elongated panels depict a waiter and a waitress, rendered almost in silhouette, set against a subtle kaleidoscopic abstract background. The faint hints of a café or eatery setting emerge through the delicate interplay of light and color, evoking a nostalgic, timeless atmosphere. Due to their thematic and stylistic charm, these pieces have been specially displayed just below il-Kamra ta' Fuq at the iconic New Life Bar - Mqabba, further enhancing their evocative connection to a bygone era.

Last but certainly not least is Reclining, a standout work that showcases Galea's mastery of chalk pastels. In this piece, she beautifully captures the softness of the female form and the delicate tones of skin bathed in rays of imaginary light. The contours of the reclining figure are gently illuminated, creating an ethereal glow.  What makes this work even more captivating is the abstract "cradle" Galea forms beneath the figure - an impressionistic foundation resembling a memory foam mattress. It cradles the body perfectly, fitting like a glove and imbuing the composition with a profound sense of safety and comfort. This harmonious blend of figure and abstract form creates a serene, almost dreamlike atmosphere that lingers in the viewer's mind.

This collection provides a fresh lens on Anna Galea's artistic journey, showcasing her versatility and evolution through over two decades of engagement with the human form. It unveils a rarely seen facet of her practice - intimate, experimental, and deeply personal - offering new insights into the breadth and depth of her creative expression.

The exhibition runs at il-Kamra ta' Fuq, Mqabba, from January 5th to 21st, 2025. Stay updated by following on social media.