Wens: Comfortable Silence is a reflection of gratitude for the quiet, comforting moments that have grounded Bonaci. It explores the fleeting nature of time and the unique nature of every moment and experience, a meditation on our smallness within the vastness of the universe and a gentle reminder of our fragility and the impermanence of memory.
The exhibition follows Rebecca’s deeply personal reflections on becoming a mother in Ġuf (2023) as she navigated the associated emotional, psychological, and physical shifts. It was raw and intimate as she tried to understand her new identity, questioned what it means to be a mother, and confronted the societal expectations tied to that role. Wens reflects upon her continued journey: she now finds it impossible to separate herself from her family.
“My identity is no longer just my own; it’s entwined with theirs. Every decision I make is shaped by the needs and realities of the people closest to me. That bond is incredibly strong; it brings beauty, purpose, and also real challenges,” she explains. “Family, in its many forms, pulls us out of our own egos: you start to understand life as something much larger than yourself.”
“At the same time, Wens is also about preserving feelings and memories of comfort. Those quiet, often fleeting moments that hold emotional weight. The small gestures, the routines, the softness of being close to those you love. These moments can feel so ordinary, but they’re what stay with us. I’ve tried to hold onto what I feel, to never forget how beautiful life is, even with all its hardships and sorrow. It’s about being present, and recognizing what truly matters,” says Rebecca. “A successful life isn’t just measured by career milestones or money, but by meaningful experiences.”
Almost every evening, once her daughter is asleep, Bonaci takes time for herself, a quiet ritual during which she reflects and sketches how she’s feeling in that particular moment.
“Before starting a painting, I revisit these drawings to be reminded of these feelings and gratitude. It’s a way of transforming those fleeting emotions into something lasting and tangible. And in doing this, I’m also aware that things might not always be like this. Life is constantly shifting, and these quiet, tender moments are not guaranteed any kind of permanence. That awareness adds another layer of meaning to my work, it’s not just an act of appreciation, but also of preservation. A way of holding onto what’s here now.”
Rebecca is delighted to be exhibiting at Valletta Contemporary.
“I’ve always loved the aesthetics and atmosphere of the gallery and imagined showing work there one day. When the opportunity presented itself, it felt right and I focused my energy on developing the work specifically for this space.”
“The curatorial collaboration with Gabriel Zammit was very natural and intuitive. We didn’t know each other well, so in the beginning, I felt a sense of vulnerability, sharing my journal notes and inner thoughts. However, he approached everything with care and respect and we developed a deep trust.”
Rebecca explains that Gabriel brought a fresh perspective to the body of work, bringing structure and organisation as well as noticing subtle connections between pieces, revealing what was already present rather than imposing a curatorial concept.
“Much of the work in this exhibition wasn’t originally created with the intention of being shown publicly. I create primarily for myself, as a way of processing and expressing my internal world. Then, once the work exists, I choose what I want to share. Still, I often find myself feeling like I sometimes overshare and that can leave me me feeling exposed and intimidated,” she explains. “But that’s who I am. I’m an open book, especially with people with whom I feel a connection.”
“In a gallery space, though, it’s different. Everyone is welcome, anyone can walk into that intimate world I’ve created and I can’t choose who I share those moments with. That lack of control can feel unsettling. I sometimes wonder if I’m doing the right thing.”
“But then I remind myself: my vulnerability might invite others to be more open, to lower their guard, to feel something real. That’s worth the risk.”
The exhibition also includes sculpture which is a new angle for Rebecca.
“The first one started as a playful bonding moment with my daughter. She made a little snowman or penguin figure, and I sculpted one of the statues that’s now part of the exhibition. It wasn’t premeditated or conceptual, it was instinctive and spontaneous. And without even realizing it at first, I found myself returning to a visual language that I’ve always been drawn to: prehistoric figurines.”
“Ancient sculptures captivates me. They’re often interpreted as goddesses or fertility symbols, but to me, they feel more human than divine. I see them as portraits of real women and have a deep connection with them as, across time, we have a shared experience. And that sense of continuity, of shared humanity, is something that runs through all of my work.”
Wens: Comfortable Silence runs until October 17 at Valletta Contemporary
There will be a curatorial tour and panel discussion with Sarah Chircop, curator of Rebecca’s previous solo exhibition Ġuf, on 8 October at 6.30 pm.
