Born April 1960, studied art in government schools under the guidance of the late Antoine Camilleri, Harry Alden and Anthony Degiovanni and has showcased works in various exhibitions, both solo and collectives.

My first real teacher was my late father. He was in the Merchant Navy and used to send letters illustrated with stuff he'd seen and places he visited.

As I grew up, the letters held fewer illustrations and scribbles as he used to send me comics, especially American ones illustrated with the best black and white graphics. Those were my first influences. Dad was also my first critic. I remember him once criticizing some drawing I was doing, and in frustration I tore it up amidst a flood of tears. Sadly, we lost him to cancer when I had just turned 16.

My first solo show was in Moscow in March 1985. So far I have organized ten solo shows and the coming one in October is my eleventh. I have also participated in various collectives including Nghinu bl-Arti, Permartex and Sacred Christian Art to name but a few. My work is to be found in many private collections, both locally and abroad.

I read a lot about other artists, but not enough to have them influence my art. I have to be me. Learning from other artists is fine as long as you keep your own self in mind.

Many “artists” carbon copy other well known, and at times, lesser-known artists as well. Right down to the signature. That is fine in that you learn from their ways. But who wants to be a carbon copy of someone else?

To some people, painting is just another "hobby". For those who try to do their best, it is hard and lonely work.

For every painting exhibited, probably another version was painted, either before or after the one shown. Sometimes when I see some of my old work, I wonder if I was better back then than I am now.






Palazzo de Piro



Institute of Tourism Studies

St Julians


National Museum of Fine Arts


2012 | 2011 | 2008 | 1999 | 1996 | 1994 | 1992 | 1990

Royal British Legion

Headquarters, Valletta



Moscow USSR



Watercolor Collective

Valletta | Zabbar





Sacred Art Biennale

Cathedral Museum, Mdina

2004 | 2000 | 1998

Palazzo Costanzo



Teachers Scotch Whiskey

National Museum of Fine Arts, Valletta

1996 | 1993

The Malta Union Club


1992 | 1991

Permartex, Royal British Legion

Headquarters, Valletta

1992 | 1991 | 1990 | 1989 | 1988 | 1987

Malta Society of Arts

Trade Fair Grounds, Naxxar

1985 | 1984

Nghinu bl-Arti


1982 | 1981 | 1980

St. John's Annex



Cathedral Museum




A friend of mine, a priest in his mid-60s, was speaking in a discussion regarding domestic problems that lead to violence. In the group there where about 10 people, mostly middle aged with a good idea what it was like to be in such a situation. Taking part in the group was a social worker in her early twenties, a graduate in her chosen field.

At one point, the priest stated how difficult the situation often is, especially if drugs or gambling was involved. He said that the hardest part was to make someone see the problem and help him or her tackle it.

The young social worker interrupted and said she disagreed with him completely as there where ways and means to go about it.

The priest calmly told her that he was talking from experience, years of experience.

She snapped back at him: "I don’t think you know what you’re saying, and remember, I graduated in my field."

The priest and the rest of the group went silent. She knew better by the looks of it and years of experience mean nothing, as it seemed.

This little story reminds me of a meeting I had with a graduate in art, still in his early twenties as well. I had applied for exhibition space. He looked at my work and dismissed it completely, saying it is not art. Obviously I felt both hurt and angry to hear those words.

I asked on what grounds he was saying that. He said he knew what he was saying as he had studied art. So it seems that a graduation certificate makes you an expert in art, and years of experience fly out of the window. He bent his head and said nothing else. My reaction was to vow never to set foot in there ever again.

Lesson learned, smudge paint, call it the smell of roses and there you go, you’re an artist by this guy’s (and many like him) standards.

Lesson 2. I attend an opening of a show, many works by a talented young man. No subject or theme, just a whole lot of paintings in many media, both figurative and abstract, as if to show off what he can do. Obviously the result of a course in fine art. The person opening the exhibition hails him as an artist.

My question: if this person’s first solo show makes him/her an artist, what does a real artist who has studied and practiced his chosen art all his life, make him/her?

I’ll leave the answer up to you.