Artists have used endless tricks and tools to help them capture the image they were after, from lightboxes and lenses, grids and viewfinders, cameras, computers and more recently Photoshop. Many people use photographs as a convenient basis for their paintings. It obviously seems easier to sit and copy a static scene instead of battling the various problems of perspective, three dimensional space, colour, changing light and moving subjects.

A word of caution though; cameras only have one ‘eye’ and can madly distort images, especially when zoom lenses are used. We find it hard to believe that photographs can lie to us so badly, and we don’t even notice the crazy distortions on many photos of moving people. Yet people faithfully copy, even trace, photos of dancers or sportspeople and can’t work out why the figures look so odd.

It seems like a simple solution, but it can be a very deceptive one. The single lens of the camera squashes perspective onto one plane, especially if the figure is moving. This distorts and flattens everything, so that a closer object becomes smaller and a more distant one becomes bigger. As an example look at this photo..

Using a photo is different from letting a photo use you. A slavish copy of a flat image is exactly that; it takes human aliveness and consciousness to turn it into a work of art. Photographs can be useful aids but we have to be aware of their distortions or we will just copy them blindly. As artists, we have to infuse our work with all our skills of interpretation and insight to give it the kiss of life.  

I do use photographs sometimes. I take photos when there isn't time to paint, and occasionally I capture something that looks like an interesting starting point. For example.....

 “Machines can do many things better than people, but beauty created by a combination of hand, eye, personality and material is something we shall always need. In fact, there is a sense of presence which can only be created by an artist or craftsman”                                           Martin Gayford

I am starting my classes again after the long hot summer! 
On Friday 19th September mornings I will be returning to the lovely gardens of Villa Bologna to resume the outdoor classes there.
From 20th September the Saturday Morning Drawing Club will get underway again in my studio in Manikata.


For more details please click HERE and contact me if you need any more information at all.


I will also be teaching an exciting six week course for teenagers 12 - 14 beginning in October in Sliema. I'll be showing them how to draw from real people, helping them to sketch quickly and for the last class we'll be working at the rehearsals of a Flamenco performance.


Looking forward to seeing you soon!!

I wonder if perhaps because mark-making is such a primal human urge we expect drawing to be ‘easy’ somehow; that it should not demand practice or hard work. Most people really wish that they could draw, but are convinced that they are not ‘gifted’ because they were probably told as children that their attempts at drawing were not good enough (good enough for WHAT? They are expressions, not competitions). Children who find drawing easy seem to be those who naturally see abstract shapes and how they fit together in space. It is more a gift of perception or observation than of drawing, really.

 “Drawing will make you a better person – not morally, necessarily, but it makes you think. It will help you see the hidden patterns all around you, and make you a discriminating lover of landscapes, faces and mundane objects. It becomes an education, which changes your brain as much as learning to play the piano or to dance. It is about striving to become more fully human”  Andrew Marr in ‘A Short Book About Drawing’

You can use the practice of drawing as a form of productive meditation, time for yourself, an interesting way of looking at the world differently and an absorbing search for lines and shapes to describe what you see. It can also be a new way of connecting to your surroundings, helping you to see things that you had never noticed before. The end result is less important than how much you learn, how much you see and how deeply you become absorbed. This alone can be the greatest source of joy, and as you continue the actual drawings will improve, with flashes of insight and leaps of ability.

I often think that the world would be a much more peaceful and pleasant place if only everyone was helped to draw to the best of their ability; we would all ‘see’, feel and experience life in a much less superficial way.

For the last 20 years I have worked as an artist in Malta. I have exhibited my work regularly, and taught drawing and watercolour in Malta for around 20 years. I tutored painting holidays with Malta Art for about 8 years. I have represented Malta in many countries abroad. But I have only really worked within the Maltese art scene.

I have often gravitated towards other ‘foreign’ artists, perhaps because of their differing methods, artistic education and approaches to their work. I have learnt a lot from working alongside them. I’ve been inspired to try new things, and I hope that I inspired them too. Creativity is reciprocal and inclusive – it cannot grow in a vacuum.

It’s only recently that I have realised how very differently the art worlds operate in Malta and abroad.

I have often gravitated towards other ‘foreign’ artists, perhaps because of their differing methods, artistic education and approaches to their work. I have learnt a lot from working alongside them. I’ve been inspired to try new things, and I hope that I inspired them too. Creativity is reciprocal and inclusive – it cannot grow in a vacuum.

It’s only recently that I have realised how very differently the art worlds operate in Malta and abroad.

A common Maltese attitude was epitomised to me once when someone said ‘why do you teach? You are showing people how to take your work away from you!’ That was many years ago and attitudes have changed somewhat with the advent of the internet. Malta is a very small country though, with limited resources and opportunities. The jealous defence of ‘secrets’ continues in some areas.

This does not make much sense in creative spheres. Unless you are a very talented forger, you cannot paint another person’s paintings. And why would you want to? Forging Picassos or Van Goghs may be financially rewarding until you get caught, but copying anything less famous is hardly worthwhile if you want to exhibit and sell it. It also illegal. As a learning exercise this is a time-honoured way of experiencing different techniques and working methods. As long as the results are titled ‘After*******’ it is quite acceptable. But otherwise?

Creativity cannot be tied down or controlled. The best way to keep it alive is to share it. Like lighting candles from one another, the brilliance of inspiration comes from passing on the flames. Each one is slightly different and unique, but each one contributes to the whole. Once we have learnt the basic techniques and know how to control our medium, then our creative adventures can begin. We can borrow and share ideas, giving them our own individual stamp and pass them on. 

I have been really busy this last week taking down one exhibition and putting up another....... before I go on holiday. 

All the details of the next exhibition are here
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please pop along to the opening if you can. If not, the paintings will be at the Palazzo de Piro all summer. If you are in Malta they'd love to see you :-)

Immediately after the opening, I am off to London for a few days and then I'm going on an Adventure - my first trip to the USA. I will be visiting my great friend the artist Bruce Bingham, in Austin, Texas. I am very excited and really looking forward to being somewhere so different. The art scene will be the most interesting of all. Malta is tiny, 316 km2 (122 square miles). Every other person seems to be an artist, but we all know each other. Exposure to new and inspiring art is generally limited to the internet. Much as I love to browse foreign artist's work online, there's no comparison to seeing the real thing. I know that with my own work - it's hard to see the difference between a tiny picture and a huge one when they are all as big as your screen. And the colours - however hard you try to compensate - are changed by the processes of photography and individual screens. Texture and surface are hard to see on a screen too. There's something visceral about standing in front of a piece of art that really speaks to your soul. 

All artists are 'self taught' to a certain extent. No matter what training they may have had, progress is only made through constant study and practice.

There are arguments for and against a formal training in art. Some say that it can stunt the individual expression of the budding artist. Many never progress beyond the boundaries of technique and the safety of general approval. Others say that having a good grounding in basic skills can only help an artist to grow in any desired direction. 

It can be difficult to break free from the do’s and don’ts, with or without a formal education. I studied Illustration for three years at college. The standard of drawing we were expected to produce was extremely high. I had always had a gift, so I really enjoyed honing my skills. When I left college I knew that I could realistically represent any subject. I didn’t want to be an illustrator though.

Years later, when my children were at school and I had time to myself, I found it very hard to draw with my previous confidence. I also wanted to express myself more, but had no idea how to do that. I began a journey of discovery, learning to use watercolour and acrylics and then moving into three- dimensional works as well. 

In the prehistoric temples, for example, I often record every tiny hole, groove and mark in the stone very precisely. I may then do several black and white tonal studies, recording light and shadows. From there I will go on to watercolour, still working on site. I absorb feelings, impressions and anything else which seems relevant

  From this I am sometimes led to semi or purely abstract works, occasionally going into 3 dimensional works in mixed media. 

  I know that my solid grounding in drawing gives me a basis to work from and a confidence in my approach. I have been teaching drawing skills and watercolour techniques in Malta for years now. I find that giving people enough basic knowledge and encouragement helps them to discover their own unique talent. I think those who approach art through abstraction and trying to ‘express themselves’ are impoverished as far as their potential is concerned. They often give up in frustration and follow another creative path. This is a shame, as learning to ‘see’ by learning how to draw can enrich all creativity on every level. Being able to capture reality accurately gives us a basis to extract from, and also a mine of information to expand on and explore.

"PAINTINGS BY JENI CARUANA" 
I have saved quite a few trees by not sending out invitations or making printed flyers or posters. I am relying on this, my Blog, emails and Facebook posts to advertise my current exhibition. I do hope this works as I really think that these are some of the best paintings I have ever produced. I am exhibiting again at the 'La Vittoria' Band Club in Mellieha. It is a great venue, run by some great people dedicated to the local community. It is easy to find, as it is in front of the main parish church in Mellieha.
No parking problems either.... 
Do drop in and see me - it is open every evening from 5 - 9.30 pm and on Sundays from 10am - 9.30pm and I will be there. 
It is only open until Sunday 18th May.
I have put a lot of work into this collection over the last year, and I really think I have taken my work a big step closer to where I would like it to go. I would love to share it with you. 
    Besides simplifying the exhibition title (I am so fed up with exhibitions with grandiose, meaningless titles) I have also named the paintings simply too.....  perhaps it's my age, or perhaps just the stage I have reached. I don't want to mess around any more. The paintings are the important things - they should speak for themselves. 

In his inaugural speech, Marquis Nicholas de Piro must have telepathically picked up on my thoughts, and said 
"I do not think that artisitic inspiration should be explained too much – all I am interested in is how Jeni’s work might influence me, and its power to assume any impact on my emotional stability. I do not really want to hear her version of what might have moved her. Ringing in my ears are the words of an Oxford Don and poetry critic I once knew. He said “Some of the worst poetry ever written was created with the sincerest intentions”. This is important and reflects all of art from painting to sculpture to architecture to music. Creativity to become great, does need a little bit of sophistication, and even enough hypocrisy to challenge the intellect. Jeni is not dreaming; she knows what she is doing. I think so, anyway.    Yes indeed there is some naive art which I like and esteem, but now, today, this evening we are considering Jeni Caruana and she is anxious to pass on the stimulus she continually receives, the inventive, spur and motivation she chases and admires – and then passes on to us.

   What she sees in a rough staircase attached to a rustic wall leading on to nowhere, and how she handles her paints depicting this scene made me gasp with pleasure. In another picture, her carmine nude contrasting the softness of reality with the mockery of falsehood – oh how it worked for me; but I would not want to hear why she did it."

In collaboration with 'La Vittoria' Band Club.                  Wines provided by Monte Kristo Wine Estates