Masks and their paradoxes
Masks come with a long history. In ancient Greek drama, masks assumed exaggerated forms to embody characters, shielding the actors’ true identities. Carnival, with its vibrant tapestry of disguises, invites participants to shroud their authentic selves, stepping into the allure of alternate personas.
The enigmatic and paradoxical nature of masks was aptly captured by Joanna Scott: “Masks are wonderfully paradoxical in this way: while they may hide the physical reality, they can show us how a person wants to be seen.”
The exhibition Paradoxum by artist Dave Calleja delves into the labyrinth of identity, drawing inspiration from the Japanese, saying: “We have three faces. The first face, you show to the world. The second face, you show to your close friends and your family. The third face, you never show anyone.”
Rooted in existentialist thoughts, Friedrich Nietzsche argued that one is constantly swapping masks that we disguise ourselves with, to constantly try to find one’s true face but in reality, our true face doesn’t exist, and a person always has a combination of virtues.
Calleja’s exploration navigates the concept of masks through the kaleidoscope of varying mental states. Even as an individual undergoes temporary shifts in mood and temperament, the fundamental features remain constant. This principle is underscored by the artist’s deliberate choice to employ a consistent ‘base’ for the face in his masks and embellish them with various ‘props’ to convey the diverse spectrum of emotions and moods.
The artist’s affinity for iron as a medium for his creations is deeply rooted in the poignant analogy he draws between the life cycle of iron and that of a human being. Over time, iron undergoes a transformative process, succumbing to the inevitable march of corrosion and gradually relinquishing its inherent strength – a parallel mirrored in the ageing journey of human beings.
Executed in an intense dark glaze, the masks in shades of black and very dark brown exude an almost ethereal quality. The faceless visages, composed of meticulously welded metal strips, present an immaculate façade reminiscent of faceless mannequins. Gold is the only other colour that is present in some masks, accentuating certain ‘props’. Diva, a central piece showcased as the hero image of the show, captivates with its opulence. The faceless mask adorned with curls and a golden halo evokes the flamboyance of Louis XIV, exuding an aura of magnificence and intensity. In contrast, Saint, while sharing a golden halo with Diva, emanates humility, suggesting a life of restraint rewarded with the golden glow of sainthood.
Opium depicts a faceless mask sprouting eight flowers, each with long straight stems. The surreal composition evokes a dreamlike state, a realm where possibilities abound, and a profound sense of freedom pervades.
In another piece, Flower Child, metal flowers cascade like a floral scarf covering the upper part of the head. A compelling comparison emerges between Thinker and
Dreamer. Thinker features gears intertwining towards a goal, symbolising purposeful movement. In contrast, Dreamer’s inward-facing gears preclude interaction, embodying dreams that remain unfulfilled.
This Will Be the Day I Die stands as a poignant homage to art and literature. With an actual bullet affixed to the forehead, the piece echoes Virginia Woolf’s “How many times have people used a pen or paintbrush because they couldn’t pull the trigger?”
Affliction takes a dark turn, transforming the crown of thorns into a crown of nails. Nails of different kinds and lengths are hammered into the upper part of the mask, creating a dark raw, reminiscence of Hellraiser.
Seeker, a standout piece, features a faceless mask adorned with meticulously crafted metal wings. Symbolic of the pursuit of desires and freedom, it stands as a testament to the artist’s craftsmanship and vision.
A departure from the others, Self presents the true self, with facial features unveiled. In adhering to the Japanese saying,
Self becomes the embodiment of the third face, the mask concealed from the world.
Paradoxum, curated by Melanie Erixon, invites viewers on a journey through the intricate layers of identity. Each mask, a paradox in itself, conceals and reveals, prompting contemplation on the complexities that define the human experience.
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“Masks are wonderfully paradoxical in this way: while they may hide the physical reality, they can show us how a person wants to be seen