https://www.um.edu.mt/library/oar/handle/123456789/114745 2026-04-05T02:59:44Z https://www.um.edu.mt/library/oar/handle/123456789/116532 Title: An art-historical analysis and hypothetical reconstruction of the San Niklaw Cave Church, Mellieħa Abstract: The fertile valley of San Niklaw at Mellieħa is about 450m long and consists of more than 3 hectares of terraced fields that are dedicated mainly to crops and fruit trees of which at present one can still find fig trees, capers, fennel, pomegranate, prickly pears, citrus, carob, almonds, olives, apple, loquat, wild berries and mulberries, together with parsley and other wildflowers. Overlooking these agricultures fields, far out on the northern cliff-face of the valley is a neglected cave known today as Għar il-Ħamiem (The Pigeons’ Cave) which is occasionally re-utilised for agricultural activities. Historically, part of this cave served a much holier purpose for at some point on the eastern side, a small space was enclosed with a rubble wall and converted by troglodytic settlers into a sacred space. A space where liturgical practices and functions could be carried out, and where the faithful could gather for refuge and solace: a cave-church. It was also known by a different name: Għar San Niklaw. Several factors, including limited and over-grown accessibility, the distance from the main settlement and the absence of a strong folkloristic tradition aided in the neglect of the San Niklaw cave-church – unlike the Sanctuary of the Virgin at Mellieħa Valley. As a result of this, the site has led to a lack of maintenance and care, and the artistic and architectural context has suffered significant deterioration over time. However, despite the passage of time, features that attest to the liturgical function of the church have been preserved, thus providing important information about the site's architectural and artistic context. Among the various features is a rockhewn curved wall containing fragmentary traces of wall paintings, which are today enclosed by a few courses of dry-rubble wall. These remains evoke a sense of wonder and intrigue and offer a moment for the viewer to glimpse into the artistic and cultural expressions of the time, thus underscoring the importance and valuable information that the site provides for research and preservation purposes. Several scholars gave this site its due attention and placed it within a proper historical context, however, a nuanced assessment of the material evidence within the premises of the cave-church was compiled by Keith Buhagiar in 1997. Almost 30 years later, this study aims to supplement, enhance and provide a valuable addition to the limited research relating to the site. It will enable a more comprehensive understanding of its art historical significance, using new technological techniques. Keith Buhagiar’s research was also analysed thoroughly as a starting point for this research in order to assess if any significant changes or new developments took place on the site since 1997. Indeed, it was observed that certain sections of plaster detached to expose additional pigment, whilst also contributed to the loss of wall paintings and their erosion. In this unfortunate situation, from the two superimposed layers of mortar coatings, both of which, according to Buhagiar contained painted pigments, the subsequent layer of paint that would have covered the previous decoration is no longer visible. The findings obtained from the digital surveys confirmed the site’s archaeological significance. The GPR survey identified anomalies with in the parameter of the cave-church, that indicate potential areas in the church linked with the liturgy, such as the presence of an altar and features such as the dukkien, trenches and other anomalies that can be recognised only through archaeological excavations. Similarly, the results of the XRF survey yielded valuable insights into the analysed pigments and enabled an intriguing comparisons between the San Niklaw cave-church and the Sanctuary of the Virgin at Mellieħa. By employing a multidisciplinary approach, this study endeavours to restore and shed light on the cultural and artistic significance of the San Niklaw cave-church. The use of 3D photogrammetry for instance, has enabled for an immersive and interactive experience of the: a) terraced fields b) cliff-face c) caves d) cave-church and e) wall paintings at San Niklaw. A hypothetical reconstruction of the cavechurch’s interior and exterior based on scans is also being presented, further enhancing knowledge about the site. This approach does not involve any physical contact with the artwork and thus, no harm or alterations have been done during the process. A digital restoration is an important tool that offers the opportunity to create visualisations that allow researchers and the public to appreciate artworks that have not yet benefited from proper conservation works. The Superintendence of Cultural Heritage (SCH) was also continually informed about the project. Description: B.A. (Hons)(Melit.) 2023-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/115680 Title: The exploration of ephemerality through a practice-based research project Abstract: The Dissertation will be addressing ephemerality through a practice-based process. Through artistic references ways in which artists through their individual artistic processes approached to interpret ephemerality from different points of research are explored. The first chapter will present an argument reflecting ephemerality, transience, time and other related subjects backed up by a select group of artistic examples. These examples will provide comparable and contrasting examples. Paramount points such as the manner in which the artist tackles the materials or sources used, how the material was treated or transformed, where the creative processes took place and most importantly how the lifespan of any materials in general where manipulated will be analysed. After the first chapter this dissertation will go into the personal approach undertaken to conducting the research and the project; essentially outlining the methodological steps taken throughout the process. The project itself will also be described and the intended exhibition space will be accompanied with photographic images and detailed plans of the space. Since the subject of time is pivotal to this dissertation, the perspective towards time and lifespan will have a section dedicated to it on its own, as well as, a set of interviews conducted across one-to-one sessions. The overall outcome of this dissertation project is to reflect a clear flow from the research phase to the creative project whilst reflecting on multiple interpretations. Description: B.A. (Hons)(Melit.) 2023-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/115679 Title: Introspection as the catalyst towards creative questioning and articulation of the self : a personal exploration of the human psyche through multimedia practices Abstract: This dissertation is my attempt to merge my artistic ethos with my enduring interest in psychology, I have been deeply engrossed in both of these subjects since I first learned how to reflect and hold a pencil in my hand. The research, words, and meditations found here are a result of years of thought and will ceaselessly continue to develop and inspire me for years to come. The writing for this chapter was meant to start in June 2021, however, due to my tendency to feel overwhelmed (this hinders my ability to plan and organise my thoughts), I managed to focus and start writing in November 2022. Initially, I carried out extensive research on the various aspects I chose to focus on, from literature to artists of reference, especially artists who have worked on similar concepts. What was most difficult for me was to narrow down the information I had collected in order to maintain structure to my thoughts and ideas. Since the subjects I have chosen to focus on have been long-time passions of mine, the research period was an incredibly interesting experience. With regards to the psychological theories, I have avidly read about the topic since my teenage years, therefore, I felt familiar with the research material and was able to easily expand my knowledge with new information. Throughout the past few months, I have realised that my intrinsic motivation towards art is based on the therapeutic effect of the creative process. In addition, the themes that I am inspired by and gravitate towards creating are generally related to the expression of my inner self rather than the world around me. I have found that my inner self is expressed organically and intuitively; and the space where I feel the most freedom to create without the hindrance of perfectionism is the artistic journal. I was first introduced to the importance of the artistic journal at MCAST Institute for the Creative Arts, albeit I refused the idea for a while before I eventually started to enjoy it. The journal quickly became a safe space for me to shed some of my perfectionist tendencies, and experiment with various mediums and techniques in order to develop my artistic style. Since then, I have created a substantial amount of work in my journals, more so than “finished” art works. In addition, my experience of the previous two years at the University of Malta, reading for a Bachelors in Fine Arts with Psychology, has taught me how to develop concepts for projects, and to question the meaning behind every technique and medium I use, and every image I create. I have also been selected for two emerging artist programmes, the first was the “Spring programme” at Gabriel Caruana Foundation for a collective exhibition in February 2022, and the second was for my first solo exhibition at Blitz in January 2023. Working with two curators, Elyse Tonna and Sara Dolfi Agostini, was a beneficial opportunity for me to collaborate, explore, and expand various possibilities of concept development and visual presentation. The exhibitions have allowed me to explore my interest in the visual journal and adapt the idea to the different spaces. Due to my increasing sentiment for the multi-faceted, expressive quality of the artistic journal, I have devoted the practical aspect of my dissertation to create an artistic journal as the final work. My objective is to continue to develop knowledge and experience with book-binding techniques, and to dedicate further time to create and write, in aspiration to evolve the book until it has reached the point where I feel that it is ready. This indubitably allows me to revisit, expand and evolve the book as time goes by, and as I continue discover other parts of me. Description: B.A. (Hons)(Melit.) 2023-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/115678 Title: The renaissance revival choir stalls and lectern at Mdina Cathedral : their Maltese and European decorative arts context (1870-1879) Abstract: The choir stalls inaugurated on Christmas Eve of 1876 and their accompanying lectern inaugurated on the feast day of the Conversion of St. Paul of 1879 found in the Mdina Metropolitan Cathedral of St. Paul are the fulcrum of this study. The project which spanned over eight years, owes its beginnings to the initial idea of restoring the preceding late fifteenth-century stalls. This idea slowly turned into a complete replacement resulting in the production of the new stalls, albeit some parts from the old ones were incorporated. The stalls and lectern reflect the international artistic scene in the way they adopt the Renaissance Revival language for their production. Moreover, they stand as a clear testimony of the high levels of local craftsmanship traditions that were present in the Maltese Islands making them one of the most significant ecclesiastical decorative works of art to be produced locally in the second half of the nineteenth century. The main force behind their production was the erudite priest Canon Paolo Pullicino (1815-1890) who occupied the role of patron to this project, aiming at producing a successful and functional decorative work of art involving painter and designer Giuseppe Calleja (1828-1915) as well as Emmanuele Decelis (c.1826-1912), the finest wood-intarsia practitioner that the island had to offer. Description: B.A. (Hons)(Melit.) 2023-01-01T00:00:00Z