Thomas Scerri may not require much of an introduction, but here's a quick overview. With a background in mechanical engineering, he later shifted his focus to design, eventually pursuing both a Bachelor's and Master's degree in Digital Arts at the University of Malta. Scerri's artistic versatility is evident in his mastery of various media, ranging from mixed media paintings to intricate sheet metal sculptures. In Strutturi, he takes his exploration further, presenting a series of sculptures crafted exclusively in stoneware, along with paintings executed in mixed media, showcasing his ever-evolving artistic practice.
Through his works, Scerri masterfully contrasts the man-made with the natural, allowing the materials themselves to guide the form and letting the unconscious drive his creative process. This approach was particularly evident in his series Interventi, a body of work that explored the interplay of unexpected materials. One notable piece, Interventi #4, was showcased in the collective exhibition Sculptura, which I curated for the Malta Community Chest Fund. In this work, Scerri captured a moment of transformation - an impending "metamorphosis" - between a roughly welded metal sheet and an eroded stone. The juxtaposition of raw, industrial metal with organic, weathered stone encapsulated the tension between human intervention and natural processes.
In Strutturi, Scerri's latest exhibition, we witness a significant evolution from his previous solo show, Rooftops, held at the Malta Society of Arts. The new body of work features stoneware sculptures with polished, smooth finishes that starkly contrast with the rugged metal pieces from Rooftops. This shift highlights Scerri's continued exploration of materiality and form while demonstrating his ability to refine and expand his artistic vocabulary.
The conceptual framework of Strutturi builds upon the themes introduced in Rooftops. In the earlier exhibition, Scerri addressed the profound sense of isolation and confinement experienced during the pandemic, exploring how these emotions were compounded by Malta's rampant construction and the loss of natural public spaces. These works underscored the psychological toll of urban development, particularly its detrimental impact on mental health and well-being.
In Strutturi, Scerri delves deeper into these ideas, focusing on the intricate relationship between human intervention and the environment. His work invites viewers to reflect on the consequences of unsustainable practices, urging a reconsideration of how we shape our surroundings. The evolution from the industrial harshness of Rooftops to the refined clarity of stoneware in Strutturi mirrors a shift in focus - from confinement and stress to a vision of balance and harmony.
The works in Strutturi began as a series of photographs and studies capturing architectural details in their natural contexts. These initial observations formed the foundation for a process of analysis, simplification and transformation into three-dimensional sculptural forms. However, Scerri's cyclical creative process doesn't end there. The sculptural forms are reinterpreted once again, returning to the two-dimensional plane as a series of mixed-media paintings. This approach allows the work to evolve organically, exploring the interplay between different media and offering fresh perspectives on architectural forms.
The resulting collection reimagines architectural spaces with a sense of clarity and harmony. This aesthetic vision stands in stark contrast to the current reality of Malta's urban environment, which is increasingly dominated by overcrowded, chaotic development. Scerri's works embody a longing for cleaner, breathable urban landscapes - spaces that offer respite and promote mental well-being. His yearning for harmony is especially poignant in light of the harsh visual pollution caused by the rampant and often careless overdevelopment reshaping Malta's towns and villages.
Alongside the longing for harmony, I feel that Strutturi also carries a profound sense of nostalgia. This is not only evident in the pastel tones Scerri employs but also in the works' titles and themes, which evoke memories of architectural features once integral to traditional Maltese homes. Elements like stone balconies, carved cornices and patterned apertures are rapidly vanishing under the pressures of unchecked urbanisation. Through his art, Scerri captures other less obvious details as symbols of a fading identity, raising questions about what is being lost as Malta's historic structures give way to modern, often characterless, constructions.
Scerri uses these architectural features to approach the concept of architectural identity with a measured, objective lens. By focusing on specific elements, he isolates and reinterprets them, inviting viewers to consider their role in defining a sense of place. This thoughtful analysis highlights how the materials, textures and shapes of traditional Maltese buildings contributed to a cultural narrative now at risk of being erased.
In Strutturi, Scerri's mixed-media paintings take a minimalist approach, with clean lines and subtle colours that portray architectural details with precision and restraint. These works evoke a sense of nostalgia for a slower, quieter Malta - of calm, sun-soaked afternoons where time seems to stand still. This timeless quality is further emphasised by the presence of shadows in the paintings. These shaded areas, so evocative of relief in Malta's searing summer heat, remind us of the importance of spaces designed to foster comfort and tranquility.
Scerri offers only small snippets of architectural details in these works - fragmented glimpses that feel deeply personal, almost like memories from his own childhood. The choice to focus on these intimate moments, rather than grand structures, lends the work a quiet, contemplative quality. These snippets are not just visual; they capture the essence of a place, evoking a multisensory memory of stillness, warmth and belonging.
The work Pedati, referring to the width of a stair, reminds me of a narrow staircase situated outdoors, usually leading to the roof in very old houses. It can also refer to a short flight of narrow stairs leading to a large window. Another work, Setaħ, portrays a shaded area that invites reflection and repose. The term setaħ refers to a small rooftop space, often connected to an additional room known as għorfa.
Scerri's works and concepts are thoroughly researched. In fact, with the images of the works he also sent me three essays on the topic of architecture - not about Malta - but about other places where the loss of identity due to excessive urbanisation is also being questioned. The essay that intrigued me most is, Is it possible to define architectural identity more objectively? by Malathe Hamid, Laura Hanks and Wang Qi. Of particular interest were the two notions of "genius loci" and "reclamation". In Malta, where relentless construction threatens the charm of traditional villages, Strutturi offers a poignant critique of the impact of urbanisation. Perhaps Scerri's work suggests the idea of "reclaiming" as described by architect Derakhshani: the careful borrowing of elements from traditional architecture to recreate a "new local". By drawing on the architectural character and spirit of Malta's past, Scerri perhaps reimagines a future where structure and serenity coexist.
This reclamation also ties into the concept of genius loci, as theorised by Christian Norberg-Schulz. The genius loci of a place is not merely its physical character but its spirit - a quality that emerges from the interplay of building materials, colours, openness and construction style. Scerri's work captures this elusive essence, presenting snippets of a vision of architecture that acknowledges its cultural roots.
In Strutturi, Scerri challenges us to reconsider how we shape our urban environments and to reflect on the impact of these choices on our collective well-being. The exhibition dreams of an urban landscape where clarity and harmony replace chaos and overcrowding - where architecture not only serves functional purposes but also nurtures the human spirit.
Scerri is based in Cork and Malta. He has been exhibiting his work for the past eight years at various galleries in Malta and abroad.
The exhibition will run until 16 February at il-Kamra ta' Fuq in Mqabba
