David Debono: 'I love scrolling on social media and discovering really good artists and art materials'

David Debono is a figurative artist living and working in Gozo. His inspiration comes from the simplicity of everyday life especially that of his homeland, which the artist turns into poetic, sometimes even symbolic pieces. His preferred medium is oil paint. He studied under the mentorship of world class artists Vincent Desiderio and Steve Huston. Today his work has been exhibited in various galleries on home soil and also in Italy. His work is enjoyed in many Maltese and foreign private collections.

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

I am a mostly self-taught painter but the moment that I feel defined my career as an artist is when I took mentorship programmes abroad, under world-renowned artists and art instructors. They helped me improve not just my skill but also build a mindset on how to become a professional artist. This is usually very hard to figure out on your own without good guidance from people who have a lot of experience in the art world. I never saw art the same after these years of intensive study. They made me enjoy it even more.

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

I love scrolling on social media and discovering really good artists and art materials. I save a tonne of information daily. On the other hand, I was never a fan of forced PR. I prefer to focus on making quality art and share it from time to time. Lately, artists from all kinds of art disciplines are becoming slaves of the algorithm, consequently feeling burned out and losing interest in their craft by feeding their stories and whatnot to keep up. I was reading that even record labels are forcing musicians to push on that aspect of promotion, something that not so long ago was the record label’s job to take care of. I believe that in life everything is good if you find a good balance. One has to adapt to these changes to move forward, without, however, losing their spark.

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

Artificial intelligence, lately is on everyone’s lips. AI can serve us well if used wisely. I get help from AI when doing research on buying materials or literature. It can give you answers in seconds and saves you time searching sites. As an artist I do not find AI a threat. The more I see AI-generated images the more I find a sense of relief that my more organic art has value, for the reason that the emotion and honesty in my work cannot be duplicated. The only fear that I have of AI is online scamming, which even the worlds’ largest financial institutions are worried about.

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

In my modus operandi I take everything as an advantage. If I am going through good or bad times, I use the situations to help me make good art. It boosts my emotion and I express it through painting. I do not believe in inspiration per se. My belief is that if you work consistently, daily, even for a few minutes, the work or study you are making will help you with your next paintings. Working doesn’t necessarily mean practicing only. It also involves reading articles and scrolling through different art. My motto is ‘when in doubt, simplify’. That’s how I manage to keep going through when things start to feel difficult.

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

Since I was a child, I never bothered with pleasing other people’s expectations apart from my parents. When it comes to art, the same applies. I make art for myself first and foremost, and that is one of the reasons why I accept very few commissions. Life is too short to try to please everyone. I believe that if you work on your own vision, no matter the style or genre, you will be original enough to have your own audience and clientele without compromising quality.

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

I think about the projects I am working on, or any idea for future works, very often. I think about art in general continuously. I have had an obsession with drawing and painting ever since I can remember. I could be on a plane miles away from my studio and I still try to figure out how to solve a painting that is giving me a hard time. When I am in the studio, before I start anything, I organise my palette. I strive to give my best to each piece of work with an effortless looking result. It is like a game of chess where every brush stroke counts like every move in the famous game. I rarely use the same technique. I have no secret formula but still I keep an eye not to lose my distinctive style, which to me is the most important thing.

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

At the moment I have my third solo exhibition coming up at Kamra Ta’ Fuq titled Echoes Of What Never Was, from 1 February to 15 February, curated by Melanie Erixon. This body of work explores the concept of false memory. This is a subject that I have been drawn to for quite a while in my thoughts but I took it to the level of making a series last year. This is the first series where all figures and backdrops are designed from memory with the purpose of giving the viewer a sense of familiarity. The paintings draw on religious subjects, present-day global affairs, and nostalgic portrayals of life in the Maltese Islands. The careful placement or omission of specific objects helps shape the narrative through symbolic meaning.

BONUS ROUND

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

I am influenced by many things beyond the act of painting, all of which continue to shape my approach to art and to life in general. I look up to musicians and their lyrics, poets and even footballers like Ronaldo Nazario with his electrifying way of scoring goals against all odds despite suffering various injuries throughout his career.

I believe that beyond technique, honesty and happiness in one’s work are what truly define a good professional. Influences from great painters, past and present, continue to shape my practice, and I never stop learning from what is out there.