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Ebba von Fersen Balzan moved from Germany to Malta and found romance and eventually married in Malta. It was perhaps also the light early evenings that  attracted her to these islands and over the years she has established herself as a painter of some repute. Ebba has had several solo and collective exhibitions and much of her original inspiration came from Malta's Neolithic temples. An inspiration that remains visible in some of her work. She has been inspirational over successive years in painting Malta’s Jazz festival ‘live’ and each year has an exhibition to celebrate the event.
Ebba’s latest venture is to paint theatre and her paintings of the rehearsals of ‘Who's Afraid of Virginia Woolf’ will be on display at the Manoel Theatre next weekend.
What first brought you to Malta? Were you already a practicing artist then?
Curiosity brought me to Malta: A small island republic with a lot of history. I came with a collapsible easel that honoured its name every time I tried to use it. Yet I did quite a bit of drawing and sketching, enchanted by the colours and the quality of light.
At that time I had just decided I needed to take my painting further, and really work at it. Talent is nice. Inspiration is wonderful. Together they do not add up to more than 10 percent, which leaves 90 percent to work on.
Does your painting represent what you see out there, or is it more what is inside yourself that is coming out?
Difficult one. Where do I draw the line – if there is any? My work is certainly fed by what I see. But thought and feeling are strongly involved. I love to work ‘in situ’ but do not put claim to working realistic or truthful. It is more that I interpret what I see. Everything is my ‘handwriting’ that has evolved over the years, and is still forming further. Even studio work, which is slower and more reflective, will be based on observation. The result might be semi-abstract, which is more of an inner view.
To what extent is there a connection between your art and the spiritual/mystical?
Art developed out of the human need to express the spiritual, from cave paintings to baroque churches. This need to emulate the feeling of spiritual truth has remained with us. My involvement with the prehistoric temples in Malta certainly has to do with spiritual curiosity, and the human need for spirituality. Spirituality always carries the mysterious, the questions we cannot answer. These are transcribed in paintings. It also is what eventually attracts the viewer: The mystery or secret in a work of art.
Your art is varied in its subject matter - are there any subjects you avoid? Straight portraits? Abstracts?
I actively avoid drawing or painting cars - unless old, rusty and useless! As a subject matter shiny new industrial products do not interest me. In my work I am guided by two things: the visual interest in colour and form and the intellectual interest in life forms, variations and transformations. Nature inspires me as do people, animals and the footprints of history.
Do you see a political role for artists today - and yourself in particular - or is art just mortals trying to create the immortal?
Art is a form of political expression about life, circumstance and ideas, even ideals, translated into visual language. For me everything that is presented to a wider audience carries a political aspect mostly focussing on the perception of the individual human being. After all art reflects the artists’ view of the world today.
For some years now you have been painting at the Malta Jazz Festival, do you see differences between this moving/live art and what you do in your studio? Are there any other subjects that you return to regularly?
Painting at the Jazz Festival is a rather special event. The conditions are a bit difficult, with lack of light and crowds. The real challenge however is that, as a painter, I have to react very fast to get the atmosphere and the movements of the musicians right. I have, and still do, for many years attended ‘live’ classes to gain the ability to paint human bodies correctly. Painting a live event is incredibly concentrated work. Fellow artist Jeni Caruana once came up with the idea to call an exhibition of our jazz paintings: Listen to the pictures and see the music. Which describes that we paint more than just people on a stage.
Studio work is slower not as ‘breathless.’ It is reflective instead of reactive. Some paintings seem to take ages until completion or until I am happy with the balance. These paintings are very layered, and often include collage, mostly with lino prints. Sometimes it feels like I am digging them out…
Recurring subjects focus on anything that has to do with nature, which includes drawing and painting outside and working from life models. This is the sort of pool of topics I have built up, and also forms the basis of studio work.
What is your general impression of the state of art in Malta, would you say it is going through a healthy innovative phase?
Yes, there is a lot going on, whether it is exhibitions, theatre or music. This is wonderful to see. It takes a lot of initiative, energy and focus to get on with this type of work, which mostly is not a means to earn a living.
What plans do you have for the future?
To paint. To develop my work further.
I have been following the production of ‘Actinghouse Productions’ – ‘Who’s afraid of Virginia Woolf’ - by drawing and painting the rehearsals. This was quite a challenge. Actors move, and unlike musicians they do not repeat their movements. I see this project as interesting transformations from one layer to another: There is the initial play, interpreted by the performers; with the help of a completely different medium I have then interpreted both, the performers and the play. It was a real adventure, and am enjoying it!!
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