TERESA SCIBERRAS

Teresa Sciberras’s painting, Circumscribed 3 is exhibited in CHAPTER D – FORTIFIED ISLAND while Little White Lies no. 1 is part of CHAPTER N – FROM NATURAL HABITAT TO BUILT ENVIRONMENT

Teresa Sciberras (b. 1979) is a visual artist working mainly in painting, drawing, and collage. She was born in Ibadan, Nigeria, and studied at the University of Malta, Santa Reparata International School of Art in Florence, and Gray’s School of Art in Aberdeen, Scotland. Her recent exhibitions include Hortus Conclusus, Fragmenta, Malta (2016), Good Walls Make Good Neighbours, Valletta International Visual Arts Festival (2015), Little White Lies, National Museum of Fine Arts, Valletta (2012), A New Generation, Malta Contemporary Art Foundation (2010), the BJCEM Young Artists Biennale, Skopje, Macedonia (2009), Research: RSA Awards in Focus, the Royal Scottish Academy, Edinburgh (2009), and New Contemporaries, the Royal Scottish Academy (2008). She lives and works in Malta and teaches at MCAST Institute for the Creative Arts and the University of Malta.

Teresa Sciberras, Circumscribed 3, 2015, oils and collage on canvas, 18 x 24 cm. Courtesy the artist. This painting is one of a triptych which is a reflection on walls and their multiple functions, references and associations: as supporting structure, as defensive shield, as organising principle, as divider, as marker of boundaries, territories and ownership, as protector of privacy, as platform for urgent voices, as container for the unwanted, as obstacle to progress, as impasse, as barrier, as blind spot, as violence.

Teresa Sciberras, Little White Lies no. 1, 2011, oil on wooden panel, 40 x 30cm. This painting from a series of works called Little White Lies derives from details of the urban fabric in the context of Valletta being redefined. Historic structures, such as bastions, interact with temporary structures, such as scaffolding, hoardings or barriers. This instability is built into the construction of the painting itself, as the devices of painting are used in the way lies are used in language. The true scale of the painted subject refuses to resolve itself, remaining simultaneously miniature, model and monolith, and on closer inspection, the illusion of three dimensionality is revealed to be false and contradictory, and collapses.