“Mizzi’s poetry is incredibly profound, layered, and evocative,” says Mifsud. “It transports the reader into a different dimension – one where abstraction takes precedence over literal reality. The rhythm of his verses and the richness of his metaphors served as a guiding force for me in selecting the colour palette which is vibrant and expressive.”
The idea for the exhibition was first conceived around 8 years ago, during a casual conversation with pianist and composer Mro Dominic Galea. In a previous exhibition, Mifsud had begun exploring the poetry of Achille Mizzi, and Mro Galea had composed original scores inspired by the same body of work. It is because of the long series of conversations between the two men that followed, that this series of work, curated by Professor Charlene Vella, now hangs at the Palm Lounge Court at The Phoenicia.
Each of the works in the show draws inspiration from a different poem, selected on the emotional and conceptual resonance it evoked in the artist. For example, Achille Mizzi’s poem Ingieniera Ġenetici delves into the ethical and existential implications of genetic engineering, reflecting on humanity’s pursuit to manipulate life and the potential consequences of such endeavours. The poem prompts readers to consider the moral responsibilities that come with scientific advancement, Mifsud explains.
Mifsuud’s sculptural background is clear, as many of the colourful works incorporate textured surfaces or sculptural reliefs, adding a tactile quality that, he explains, echoes the physicality of lived experiences.
“In Ingieniera Ġenetici, I sought to capture that pivotal moment through a sculptural composition featuring numerous hands, arranged in an abrupt, almost chaotic manner,” he explains. “At the culmination of the piece, the hand of the poet himself emerges – reaching out in a gesture of questioning, almost pleading – asking God why He has relinquished His creative power and entrusted it instead to the hands of the engineers.”
In the poem for this the exhibition is named, Taqtir is-Skiet, Mizzi explores the profound depths of silence, portraying it as both a refuge and a source of introspection. “The poem emphasizes the eloquence found within silence, suggesting that in moments of quietude, one can confront universal truths and the essence of existence,” Mifsud continues. “Mizzi’s use of language and metaphor invited me to reflect on the balance between speech and silence in the human experience. Subsequently, I aimed to strike a balance between silence and chaos and managed to achive this by employing texture in a more subtle, restrained manner, and by creating a contrast between the richness of vibrant colours and soft, misty layering of whites. This interplay evokes a sense of tension and harmony, reflecting the delicate equilibrium between stillness and turbulence.”
Achille Mizzi’s poetry is a profound exploration of existential themes, blending realism with surrealism, and metaphor with tangible reality. His works often delve into the human condition, the interplay between life and death, and the quest for meaning in a complex world.
In his poem, Vespri, he adds, Mizzi captures the contemplative stillness of evening, using the setting sun as a metaphor for introspection and the transition between life phases.
“Vespri was both a creative and deeply personal challenge. I chose to work exclusively with the colour red – a decision rooted in a recurring dream I have had for years, where I see vivid, almost bleeding red skies. This haunting vision has stayed with me, and through this collection, I wanted to give it form and presence, using red as a symbol of intensity, emotion and memory.”
Reimagines the classical hero’s journey, Ulisse symbolizes the perpetual human quest for knowledge and self-discovery. “While reading this poemover and over again , I imagined myself bound to the mast in Ulisse’s place – reliving Homer’s epic from a personal perspective,”explains Mifsud. “I remain haunted by the seductive calls of the nymphs, which I interpret as symbolic of today’s chaotic disturbances, empty messages, and false prophets. To represent these alluring forces, I used sculpted, beckoning hands – reaching out, grasping towards the ropes that once held Ulisse. Yet they never succeeded: I deliberality choose not to depict him, emphasising instead the relentless, unanswered pull of temptation.”
Other poems like Għanja, Eviva, Mdina, and Djamanti evoke a serene calmness, blending vivid imagery with profound reflection.
“Arizona” holds a special place in my heart,” Mifsud adds. “It inspired me to reimagine the Arizona desert landscape through my own contemporary lens. I allowed myself the freedom to interpret its essence, not merely through its literal description, but by exploring the soul of the desert—its presence during the stillness of day and its mystery under the night sky. This deep connection with the poem ultimately gave birth to three distinct paintings, each reflecting a different facet of the desert’s spirit as I experienced and envisioned it.”
Mifsud reflects that engaging with Mizzi’s poetry in this way was both challenging and liberating. The constant tension between the real and the surreal, the vivid imagery and sculptural form, and the interplay of metaphor and reality created a deep artistic dialogue. This journey inspired a truly sincere collection, shaped entirely by poetry and my response to it. Immersing myself in Mizzi’s world, I allowed the poems—and the poet himself—to guide me, resulting in a creative process defined by total artistic surrender and genuine emotional expression.
At 7pm this coming Sunday (May 18), Mro Dominic Galea will perform original piano compositions inspired by the same poems, accompanied by soprano Nadia Vella, bringing the verses to life through music surrounded by the art inspired by the same words.
Taqtir is-Skiet runs until June 1.