Zieme    
       
     
  Night has fallen   t night has fallen  y 2016-17  m physical and digital neon, full HD real time video 21:9  d 60x18x4cm   Commissioned for the exhibition Malta - Land of Sea, BOZAR, Brussels.  Consisting of a physical piece and a video installation that creates a dialogue with a dormant 18th century traditional ‘Tal-Lira’ clock, the work makes use of the Maltese language to explore time scans in a timeless and yet ever changing seascape. The artist suggests to challenge the pertinence of the island as a cognitive device for territorial description of time in a politically charged sea.
       
     
   Sebgha . seven   t Sebgha  y 2017  m found Globigerina Limestone with text engraving  d 95x180x80cm  Sebgha unveils a text engraving on found Globigerina Limestone which is arguably the most sought after sedimentary layer in the mediterranean building industry. Texts are taken from seven poems by the six Maltese poets: Ruzar Briffa, Norbert Bugeja, Claudia Gauci, Maria Grech Ganado, Adrian Grima, Daniel Massa and from the band Brikkuni.  This object, taken from a wider series of site-specific interventions explores the transient and contingent aspects relatable to time as it concurrently occupies a space temporarily.  A dichotomy emerges through its malleable nature: easily worked but also prone to a lveolar weathering, and yet used in fortifications and bastions. Instantaneously, the acts of engraving, fortifying, or demarking a boundary is counteracted with process of salt crystallisation that has its own manner of eroding, erasing and sculpting into nothingness.
       
     
 Ghost Trip series  t Ghost Trip Series  y 2015 ongoing  m video and works on paper  d variable  The Ghost Trip series started with works on hotel paper during an artist’s residency in China and most were first exhibited in Henderson Centre, Beijing. The ground of this series slowly shifted from hotel paper to found or reproduced graphic drawings that were eventually ‘erased’ with subsequent layers of non-newtonian ink and tar,  emphasising the gravitational essence in dualities, opposing delicate marks (embossed using lead spheres from bullet cartridges) to imbued stains of pigment and underlay graphic information. The starting point of both planes is political and deals mainly with transitory paths, migration and displacement. The artist tends to think of them as Loss maps.
       
     
stones
       
     
blohladawl
       
     
 t No  y 2012,  m cotton, linen, lace, embroidery  d 140x40cm     The artist commissions four parents of gay individuals a part of an intricate traditional lace work pattern. Mechanically, the prayer of contrition becomes formulated when the pieces are embroidered on the central part and all components of the work: digital,analogue and physical are sewn into one object. First exhibited in Milkshake, an exhibition about the queer body during gay marraige and adoption debate.
       
     
  Homo immortalis    t Homo immortalis (it takes a long time for a man to look like his portrait)                                                                                                    y 2011                                                                                                       m plaster of paris, carrara marble                                                            d 12x6x4cm each (x9)  Homo immortalis (it takes a long time for a man to look like his portrait) was first exibited in I Fought the X and the X won at Muzeul de Arta, Cluj-Napoca, Romania.  Echoing the musical tradition, the work uses souvenir-like busts of discredited men of power. The busts of Hussein, Amin, Ceaucescu, Aleman, Suharto, Milosevic, Gheddafi, Ben Ali and Marcos were shrouded and cast in cheap fragile material.   Dictators dream of immortality and monumentality. In times of revolution, these monuments and symbols of the regime’s authority are generally the first target of the revolutionaries.
       
     
 kelmabejntnejn     t Kelma bejn tnejn                                                                                     y 2008                                                                                                      m oil on canvas with a series of instructive emails                                 d 200x150 cm (each)  Work by instruction, installed at MCA, Marsa. By indirectintervention the artist directs this project from inception to unveiling without ever seeing the work. Through a series of instructive emails the artist instructs the manner in which the work is painted, stretched and pan hung.  In commissioning the portrait of a government minister and an iconic painting to artisans in China in a context of mass production/precarious labour conditions together with the inflation that the market of such reproductions comprises, the artist becomes another cog in the machine of consumerism. Though his role is cast in the shadows of digital communication, his intervention is not diminished and like complications - the workings in a clockwork, his actions are essential to comment on the obscure narrative of a dialogue between the two.
       
     
 deposition, installation view, kulturzentrum, konstanz  t deposition  y 2006  m double video projection, 6min 20sec, 50sec lag between projections   d variable     Depositon takes on an indirectness that suggests death as an empty signifier of cleanliness. The idea of a broken incomplete sign keeps the audience suspended in anticipation for a promised-but-never-delivered resolution.    
       
     
  Prayer   t prayer  y 2001/2002  m cast and hammered aluminium   d 320x200x165cm      
       
     
 blank  interview on newspaper  1998, sat 28 march, pg8, L-orizzont, malta
       
     
 untitled  t untitled  y 1998  m concrete bricks, frame  d 300x200x50cm     Installation in a Catholic Church is the most intense period of the liturgy, the easter time. The church was handed to the artist and no masses were celebrated for the 15 day duration of the whole exhibition. the brick wall was cutting the congregation from the altar and titular painting.