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The words of arcane theorist Roland Barthes, “one should not try to focus on the intentions or the aboriginal meanings of the artisan but rather focus on the alternation of the spectator”, are actual re­le­vant to the access accepted by Gozitan artisan Mario Cassar.

The ‘pure’ abstraction that originates from about aural the artist’s bookish case is manipulated in means that go above the alone representational. They entail a claimed self-identification by the admirers with the pieces. The resultant anecdotal or annotation is autobiographical, which doesn’t avert it additionally actuality of amusing and accepted relevance.

This accumulating works on abounding altered levels. Each alone is arrive to argue his or her own library of impulses, memories, experiences, inhibitions, images, legends, burghal belief and belief to ‘breach’ and analyze the belletrist cacographic on a acclimated blanket or a atom of paper. The scribbles arm-twist a pre-internet age back belletrist were absolutely accounting afore actuality calculating slipped into envelopes.

The adhering on the brand as able-bodied as that on the lip of the envelope were aqueous with saliva, thereby sealing one’s DNA for breed in the process. This, accompanying with the claimed appropriate calligraphy, established, after about any adumbration of doubt, the antecedent of the missive.

The Cy Twombly-like arrangement in the scribbles, astern in mirror image, accompaniment the arresting floral arrangement on the envelope as in Untitled (Ittra-demm), 2018. This bulletin lingers on, fleetingly undecipherable, like an archaic, possibly Semitic, unidentifiable language. These ability be verses of a poem, an ode to adventurous and maybe barren love. The red affection replaces the admiring kiss. The aforementioned affection burden is again in the coarse Christo-like architectural rendering. The beaming green, child-like average of a access timberline adds a fable-like ambit to an absurd story.

The Maltese postal brand adds a breach-like clue that offers clues to the time of year in which the letter was accounting or, rather, posted. It fixes the letter in a time and in a space. The somewhat accidental area of the brand on the envelope and the admittance of some debris of the ‘mother’ area announce a roller-coaster of activity and a affection appear manifestations of ‘boredom’. However, like all codes, it can additionally be broken.

Like Robert Rauschenberg, Cassar delves into the raw actual of politics, accepted affairs, mortality, adorableness and his own adventures as able-bodied as his hidden and arrives at a multi-layered and collaged access to context. The absoluteness of article as blah as the Coca Cola logo admiring the absorption of artists like Andy Warhol and Mario Schifano.

The carefully art-historical signifi­cance of this as a basic of Cassar’s Untitled (Cola Christ), 2017, can be absent on an admirers that lacks affection and ability of the bulk of accurate artists. One can catechism whether this is an elitist and patronising animadversion on the shortcomings of the bounded educational institutions,  which boycott art apprenticeship by giving it bare appliance back establishing academy curricula.

The residue, the intertwining of two worlds, is a new vernacular, a amalgam of accent and art

Apocryphal actuality icons like the Vera Icon and pop ability re­fe­rences, like Disney’s Cinderella castle, are chip amidst art-historical ‘icons’. The affection of Jim Dine, the cryptic numbers of Jas­per Johns, the Warhol/Schifano Coca-Cola signature and the Twombly scribbles are brought calm by Cassar in a 21st aeon collage. The bulletin is in the scribbles and, like the narrator in Jorge Luis Borges’s The Book of Sand, we are afflicted by the “defiled and besmirched reality” that defies any aboveboard interpretation. Perhaps what Cassar is adage through this painting is that, like Borges suggested, too abundant ability may not be article that a man can handle.

A breeze of words lose structure, drain and coalesce into a residue. Michel Foucault remarked: “The activity is everywhere the same: that of the assurance and its affinity and this is why attributes and the chat can associate with one addition to infini­ty, forming, for those who can apprehend it, one all-inclusive distinct text.”

The residue, the accepted intertwining of two worlds, is a new vernacular, a amalgam of accent and art. Twombly’s interprets the division in Autunno (Quattro Stagioni 1993-95) as a gestural metastory; Autunno is scribbled assimilate the canvas to accord the anecdotal with an character admitting the abiding avalanche of argument and scribbles. These are set off adjoin a accomplishments of atmospheric bawdy colours that one assembly with the season. Twombly narrates autumn via nuances and semantics. Cassar adopts a agnate anecdotal technique.

Found chantry additionally accommodate anecdotal overlap. In Cassar’s Untitled Pair, the appellation is a pun that the artisan playfully exploits to bear a message. The artisan uses mordant, a acerb aqueous that reacts with dyes and added reagents, to compose his bulletin in gold and copper. Thus, the eggs, taken out of their biological context, become templates for the accounting word, authoritative an adumbration out of the appellation that Cassar has chosen. Eggs symbolise activity and new beginnings. This decontextualisation is mirrored in Cassar’s activity of award the object, in this case two ostrich eggs, and absolution them from their above constraints of accustomed biological action to carbon their story.

Another objet trouvé is the bronze of Venus, Untitled, 2016-2020, which acclimated to be a representation of the naked goddess, admirable on the chantry of kitsch. Yves Klein’s Blue Venus is its ancestor. The artisan vibrantly colours the begin article as a checkered sculpture, abundant in the way that the sculptors of classical antique coloured their divinities. In Barthes’s words: “Myth distorts the acceptation of the aboriginal sign: it is no best what it was, or what it appears, but article else.”

A Greek goddess is buried in mythologies that alter what she originally represented, exil­ed from the Pantheon to which she acclimated to belong. Time has sheared her off her accurate colours to become a monochromatic concept, a frieze of an idealised beauty. Cassar follows a altered aisle to that of Untitled Pair. He uses colour to re-contexutalise an old goddess in an age in which gods are acceptable ephemeral, extraneous and monochromatic.

Cassar is agreeable us to his flat for an consecration into his vernacular. Symbols, belletrist and images absorb into a accent that reads like a concordance of possibilities. Belief can run anarchism and lose their plot. It is up to us to apprehend the signs, arouse a anecdotal into a anatomy and analyze abeyant storylines.

Mario Cassar’s flat will alone be accessible by appointment. Kindly buzz on 7956 6274 or e-mail mariocassar75@gmail.com.

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