Thomas Scerri: 'The constant stream of visuals on social media has changed the way people consume art'

Thomas Scerri is a multimedia artist based in Cork and Malta, whose work explores the complex relationship between the man-made and the natural. His solo exhibition STRUTTURI is currently on view at il-Kamra ta’ Fuq in Mqabba from January 31 to February 16, 2025.

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

I don’t think there’s a single defining moment in my career, as it’s been shaped by a series of works and experiences that have marked different stages of my development. My early solo show, Self (2017), was pivotal as it introduced my sculptural work in metal, a medium that continued to feature in my practice through the years. Later, Rooftops (2021) marked a significant point as it introduced colour to my work and set a minimalist aesthetic that defines my current direction. However, I still regard Sangisugi (2019) as the pinnacle of my sculptural work—it’s my largest piece to date and a true culmination of my experimentation and skill at the time. Each of these milestones has played a key role in shaping my approach, pushing me to explore different techniques, materials, and ideas.

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

Navigating social media as an artist is a significant challenge because maintaining an online presence can feel like a full-time job in itself. While social media offers the opportunity to connect with a wider audience, it often comes at the cost of precious ‘studio time’.

The constant stream of visuals on social media has changed the way people consume art—there’s less time for reflection and analysis, and more focus on instant gratification. This creates pressure for visual artists to produce and share imagery at an unsustainable pace just to remain relevant.

While I recognise the value of social media in amplifying visibility, I try to strike a balance by prioritising my creative process and sharing only what I feel needs to be seen, rather than chasing the demands of the platform. After all, my work relies on textures and layers that can only be experienced in person.

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

Not as such. Technology only becomes a threat if we allow it to be. Technology is there to be used in making things easier, and the key is to use it to your advantage without fully depending on it.

While AI is rapidly evolving and can now replicate certain processes, like painting, it is still fundamentally a machine that relies on patterns and algorithms. The essence of being human—our emotions, experiences, and individuality—can never be replaced. Art, at its core, is deeply rooted in these qualities, which in my opinion no machine can ever replicate.

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

I remain inspired by staying connected to what’s happening in the contemporary art world and by observing the environment around me. One of the most important things I keep reminding myself is not to compare myself to other artists.

There are times when it is hard to create and come up with new ideas, and I have learned to accept that. It’s not the end of the world. In moments like this, I find it’s best to step back and absorb my surroundings. Ideas often come when I least expect them.

I tend to put too much pressure on myself to constantly create and avoid wasting time, which leads me to forget the importance of resting my mind. I’ve found that one of the best remedies is to turn to other passions, allowing me to put my thoughts in a different context, which often keeps me open to new ideas.

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

It’s hard to please everyone, and I’ve learned to accept that. Most of the time, I simply focus on exploring what I feel I should be doing. When a thought or idea occurs to me, I follow it and explore it deeply. If it feels right, I pursue it—often, this means going in a direction that may not align with what the audience expects or what my peers suggest.

However, I’ve come to realise that if I go against my gut, my work will feel forced and disconnected from my true self. Staying true to my instincts is crucial because that’s where the authenticity of my art lies. In the end, I trust the process and know that if I’m true to my own vision, it will resonate with the right people.

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

My approach to a new project truly depends on the nature of the work. Sometimes, it begins with a thought or idea I’ve taken note of, which then leads to the choice of material or medium and the final aesthetic. Other times, it could be a found object that sparks my interest and becomes the starting point, which then dictates the final form.

Occasionally, it might be a visual image such as a photograph or a composition I would have encountered, or even something as simple as a colour combination that ignites an idea. There is no fixed rule or rigid process for how a project develops for me. It purely depends on intuition and experimentation.

7. Can you let us in on some of your future projects or works?

Currently, I am working on a project that explores the duality of homesickness and nostalgia while navigating a new country through a series of paintings. It reflects on the past memories of my upbringing while questioning the direction of where Malta is heading. This project delves into themes of grief, identity, and existentialism. While I can’t reveal much yet since the work is still in progress, I am excited to see how it develops.

Extra round

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

There is an infinite number of modern and contemporary artists I have to acknowledge as a source of inspiration and who I look up to, such as Henry Moore, David Smith, Barbara Hepworth, John Chamberlain, David Umemoto, Hiroyuki Hamada, and Louise Bourgeois, to name just a few. Additionally, the writings of Carl Jung and Martin Heidegger have been influential, featuring in many of the projects I’ve undertaken.

Beyond these figures, I’ve been profoundly shaped by the people I’ve met and the experiences I’ve had throughout the years. My time studying engineering and workshop practices introduced me to the discipline of working with materials, which has been foundational to my practice. My mentors at university, while studying Digital Arts, helped me refine my thought processes and develop stronger ideas. Working in graphic design also played a significant role, sharpening my use of colour and composition.

Most importantly, I owe much to my family for their unwavering support, particularly my father who instilled in me a deep love for the arts from a young age.

This article is supported by Arts Council Malta.