Anna Galea: 'There’s a big difference between being a skilled copyist... and a free, individual, innovative artist'

Anna Galea, B.A., M.A. Melit. (b.1958), is an award-winning artist celebrated for her large-scale floral, still-life and marine paintings in watercolour and oil, as well as for her abstracted works. She has exhibited her works extensively across the world and works from her studios in Malta and Rome.

1. What’s been the most defining moment in your career so far?

I’ve had several defining moments, but perhaps what set me off seriously was when I held my first solo exhibition in 1998, spurred by the then chairperson of Malta Hospice Movement, Claudia Taylor-East who thought my art was good enough to help raise funds for Hospice. Practically all my paintings were sold on the opening night and from then on, I pursued my passion with more enthusiasm. Another very defining moment was being invited and accepted by the curators of the prestigious Biennale di Firenze to participate in the 23rd Florence Biennale at the Fortezza di Basso in October 2023. It was an exhilarating experience being there for the duration of the Biennale, exhibiting with and meeting other world class artists, participating in presentations, seminars and discussions on site.

At this Biennale the great architect Santiago Calatrava and photographer David La Chapelle were special guests and us participants could talk to and interact with these iconic artists. Previous guests of honour at the Biennale included Stephen Spielberg Other defining moments include on being invited to conduct masterclass demonstrations by the International Watercolour Society at IWS festivals in various countries, including in Italy, Dubai, Poland, Turkey and China.

2. As an artist, how do you navigate the world and speed of social media?

With difficulty. I’d much rather spend my time painting than navigating social media. However, after associating with many other international artists abroad, I am aware of the necessity and importance for an artist to interact with followers, galleries, curators and fellow-artists through social media. I mostly interact through Instagram (Instagram/annagalea58/) which is linked to my Facebook Art Page (facebook.com/AnnaGaleaArt/), posting about my art and painting experiences, and replying to comments kindly made by art lovers who see my posts. My website can be accessed at www.annagalea.com. I have an assistant who sometimes puts together photos and videos to share when I have exhibitions etc. I am subscribed to a few art journals and newsletters as I value the importance of keeping abreast of what’s going on within the art world.

3. Do you consider artificial intelligence a threat to your career, or an opportunity?

I wouldn’t consider AI a threat, but in my case neither do I consider it an opportunity. AI might facilitate the creation of outstanding works by suggesting options from data that it has been fed and that already exists but… I’m of the opinion that AI takes away the freedom to create without inhibitions. It influences and stifles rather than helps the character of an artist to come through. Georgia O’Keeffe is quoted as saying that for her the biggest challenge was to ‘unlearn’ all that she had learnt at the art academies. And this is the opposite of what AI could do to a traditional artist. A machine cannot take over the original personality and freedom of thought of a traditional artist and produce a one-off original artwork. As far as I know, pigments/brushstrokes/ canvas/paper/clay etc cannot be replicated by AI. I understand however that digital artists may find AI to be a useful tool if it is fed original digital art created by the same artist.

Seher il-Bahar, Acrylic on Canvas

4. How do you stay motivated and inspired, especially during tough times or when the work feels hard?

I would add that nothing beats the experience of visiting an exhibition of original one-off works of art that cannot be replicated - artworks that are put together and created by the physical hand of a true creative artist. There’s a big difference between being a skilled copyist/craftsman/technician and a free, individual, innovative artist. I keep my ‘antenna’ wired and constantly on, and most times I am bombarded with ideas! I can’t help it, and sometimes this ‘built-in’ attitude drains me. Whether I’m preparing for an exhibition or working on a specific theme, I am always on the look-out for what would make an exciting composition. It could be an angle, a shadow, a colour or movement. I would then exaggerate and dramatize what hits me.

Perhaps zoom in, or emphasise shadows. So, most times I have a little sketch book in my bag and, besides capturing images on my mobile phone, I jot down/sketch what arouses an exciting new painting. So, my problem, rather than a mental block, is deciding on what to start or continue working on. I am motivated by the energy I get when I am creating and painting. I cannot just wait for the mood to paint. I have to BE there, even when I don’t feel like, and then once I start, I am focused. And time doesn’t exist. I am mostly inspired by nature - I am in awe of nature. Even when doing abstracts, I draw upon nature. With still-life in particular, I take common mundane objects which we take for granted and paint them into what might jolt the viewer into appreciating Mother Nature’s gifts to us.

5. How do you balance your creative instincts with the expectations of your audience or collaborators?

I am lucky enough in that I do not have to depend on sales for a living. I allow myself the freedom to be myself and to be creative. I am primarily known for large-scale floral and still-life in watercolour. But I also do abstracted landscapes and seascapes, abstracts, portraits animals and life-figure. And the medium determines the outcome/style, as I also paint in oils, acrylics, pastel and charcoal. I refuse to chain myself to my reputation or to producing more of the same; otherwise, the whole process becomes boring. I feel the need to move on, push borders and keep investigating. If the work is genuine and coming from the heart, my ‘audience’ and collaborators would know. Renowned Maltese artist Austin Camilleri once pointed out to me that Picasso is quoted to have said that God created the elephant, the giraffe, insects, mice, humans… he did not stick to one particular style!

6. How do you approach a new project? Do you have a specific process or routine you follow?

I approach a new project with enthusiasm, as a challenge. With studio work I first conduct wide general research into the theme/subject, and then converge my ideas into one final sketch/series of sketches before starting on the actual painting/s. Obviously, the theme of a new project has to be something I relate to and that intrigues me. Again, developing ideas takes time and I need to pause and have breaks and look at my ideas from different angles/perspectives in order to ‘create’. When I have boundaries and when I have to stick to certain briefs, more ideas seem to flow out and this makes the project even more exciting for me. Also, I like varying the size of my paintings, especially when I have a solo show.

The composition of a painting would determine the size and orientation. With life figure painting on the other hand, I try to capture the rhythm of the pose and the rhythm of the movement. Especially with 3-minute and 5-minute quick poses. I would have different sizes of paper and boards and grab whatever would seem to fit the composition. The immediacy and spontaneity of timed life figure drawing/painting can produce some interesting works. I am now actually for the first time exhibiting solo my figure paintings - FIGURE IT at Il-Kamra ta’ Fuq in Mqabba from 5 to 21 January 2025, curated by Melanie Erixson. These works span over a period dating from the late 90’s to the present date.

7. Can you let us in on some of the future project, works?

In May/June 2025 I will be exhibiting in London at the invitation of Florence-based Studio Abba Gallery with whom I had exhibited in Barcelona last year; in September a solo exhibition at Rudy Buhler’s lovely seafront gallery in Marsaskala where I will be showing a series of abstracts; and in October I’ve been invited to take part in the 11th Geoje International Art Festival 2025 at the Yukyunk Art Museum in South Korea.

Extra round

Who are your biggest influences, and how have they shaped your work?

I greatly admire the world view and paintings of the ever-young David Hockney! I am inspired by the passion and brushstrokes of Van Gogh, the commitment to art of Matisse and O’Keeffe who both kept on painting until they died well into their 90’s, and the large oil and pastel paintings of Odile Redon. These great artists have shaped my own approach and world view towards the creative process in the art of painting.

This article is supported by Arts Council Malta.