Malta

·amura·

116

MoT coORViTtBdoreT •

the conquerors

Referent de rigueur

Owing the sheer influence of the mass media, his

work has been regarded as a precursor of Pop Art;

even in recent interviews, he himself has alluded

to the topic, self-designating as father of that

movement; although some characteristic ele-

ments of his production such as the use of light

–as a modulating resource of the surface—mark a

boundary with that movement.

At the beginning of the 50s, he felt attracted

and was influenced by the abstract expression-

ists, he began to create trees and some paintings

from photographs, and common folks’ portraits. In

1954, for the first time, he made a solo exhibition

in the New York Roko Gallery.

In the mid-sixties, his work was focused on

etching, lithographic editions in serigraphy,

wood engraving, and cut linoleum, where he dis-

plays aesthetics of very simplified forms, here

color and forms stand out in his well-known sil-

houettes and cutouts.

By 1970, he was concerned with interpreting

the artistic and cultural world.

In the 80s his topics dealt with ephemeral

situations, his characters are captured at the mo-

ment of making some expressions such as smiles,

or actions, like discussing. At that stage, he syn-

thesizes an epoch featured by leisure, clout from

the fashion world and carelessness; he was also

attracted to large-scale landscape painting, a

theme plagued by experiments, according to the

first stage on his artistic career and that he has

been exploring until this day.

Referente obligado

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1988