The Malta Independent on Sunday
[Un]Veiling our true selves
It’s photography time at il-Kamra ta’ Fuq and we shall be hosting Andrew E. Zarb’s second solo exhibition titled [Un]Veiled, throughout this month.
I have known Andrew Zarb for the last three years and it’s impossible not to fall into a beautiful friendship with him and his better half, Sylvana (is-Salv). Two incredible persons who I must admit, helped me in so many ways and with whom I shared many funny moments but also many arty experiences.
Zarb embarked on his photographic journey relatively recently. During a period of recuperation from a back surgery that confined him to bed for several weeks, he found himself with abundant time to explore the intricacies of photography – immersing himself in the study of techniques, equipment and processes. As soon as he regained his health, Zarb wasted no time in heading to a camera shop to acquire his very first semiprofessional camera, opting for a Nikon model.
I have been following his art photography for quite some time now, and I vividly recall acquiring my first piece from him – a captivating portrayal of two flies engaged in copulation! Alongside his exploration of intricate cityscapes captured from unexpected perspectives, it’s evident that Zarb’s distinctive style gravitates toward nude photography.
He started experimenting with nude photography by focusing on creating compositions composed of interesting lines and curves, however, feeling the need for further guidance and inspiration, he found a mentor in the late Zvezdan Reljic. Reljic’s influence encouraged Zarb to delve deeper into the portrayal of the human figure, shaping and refining his artistic vision.
Another significant source of inspiration and invaluable support
for Zarb was Sylvana, his wife, who served as his initial muse for his nude photography endeavours. Her participation facilitated an intimate environment where the artist could explore the interplay of light and shadow with the human form.
A compelling aspect of Zarb’s work is the fact that many of his models are posing nude for the first time in their lives, and in some cases, it’s their first experience posing altogether. This unique dynamic often leaves an indelible imprint on the photographs, capturing a raw and authentic essence that resonates throughout his body of work.
In his works, Andrew is constantly pursuing beauty – he sees it as his mission to capture the essence of anything that embod
ies beauty. He explains: “In my photos, I try to show the beauty in the human body with no influence by the model’s identity. This is done because I believe that everyone has something beautiful, and my job is to capture it.”
Before delving into our current exhibition, I’d like to highlight two intriguing works from a couple of years ago.
Firstly, White Madonna, a small yet powerful piece depicting a female bust in the nude, is bathed in an ethereal white light that imbues the composition with a saintly aura. This work is a testament to the artist’s mastery in manipulating light to evoke a sense of transcendence.
Conversely, The Warrior presents a stark contrast, plunging the viewer into a realm of darkness. Here, a female torso is depicted on the left side of the composition, while the right side is engulfed in absolute darkness – a void. We don’t see the model’s face, but we know her story. She was a cancer survivor, but unfortunately, her journey towards freedom was tragically cut short. Through the adept use of shadows and clever composition, the artwork weaves together a narrative of profound sadness within a framework of haunting beauty.
As previously mentioned, the exhibition at il-Kamra ta’ Fuq marks Zarb’s second solo exhibition. His debut exhibition, titled Leto, was held at Art by the Seaside in 2023. Leto delved into themes of femininity and vulnerability, offering a poignant exploration of these concepts through Zarb’s distinctive artistic lens.
The exhibition [Un]Veiled delves into the theme of self-discovery and soul-searching. The exhibition’s narrative traces a person’s journey from the concealed, the timid and the insecure to the assertive and confident, ultimately
culminating in the nude form dominating the artwork and the viewer’s space.
The narrative unfolds across four distinct scenarios, each portraying a unique facet of the journey of self-discovery. Part one, titled Veiled, focuses on artworks depicting veiled faces – some with closed eyes – where the veils, though transparent, still offer full coverage. Among these works is a poignant piece featuring the artist’s wife, Sylvana, enveloped in a large black veil, revealing glimpses of her face and torso.
Part two, titled Intimately Unrestrained, introduces artworks depicting the model shedding a satin housecoat, yet her face remains turned away from the viewer. Zarb skillfully captures a sense of solitude, portraying the model as secluded in her own world. Though the veil is lifted, a profound detachment persists. In the series of four works titled Glass Cage I-IV, the nude figure is partially concealed behind a weathered glass door, symbolising a reluctance to fully engage with the outside world. This evokes a poignant sense of vulnerability and the need for protection within the confines of a metaphorical glass cage.
In part three, we see Zarb experimenting with water, light and the beautiful patterns created by soft water ripples along with a mastery in the use of reflections. The narrative unfolds with Fluid Hesitation, portraying a figure still hesitant but on the brink of liberation, akin to the fluidity of water. The drapery, loosely clinging to the model, is saturated and heavy, symbolising the final obstacle hindering freedom. The play with the monochrome, the reflections, and the water ripples is astounding and gives life to these morphed mermaids entangled in these fabrics. Surely worth a special mention from this section is the artwork Follow the white waves, which is the largest in this exhibition and deserves to be observed in great detail.
At last, one manages to attain freedom and the discovery of selfesteem and confidence. Unveiled features a number of works, where the veil is almost lifted, and the nudity is more evident. In the model gazes directly into the viewer’s eyes, head slightly tilted, peering through disheveled hair – a symbol of unwavering confidence. Conqueror I portrays the moment of liberation, as the veil is cast aside, caught in an imaginary breeze of freedom. The model stands tall, head held high, radiating strength and readiness to conquer the world.
“Lift the veil that obscures the heart, and there you will find what you are looking for”