A series of doors, taken around Kreuzberg, Berlin in 2014.
SANTA MARIA vs ST.GEORGE
26 panels in six groups, 3 in colour and 3 in black and white Each panel 15 x 178 cm. Photographed in Victoria, Gozo in 2007/2008
MEXICO CITY SHUTTERS
A series of Mexican shutters photographed in Mexico City in 2003
Mexico is one of Latin America’s most popular states. It is popular for a number of reasons, including cultural and historical events encompassing a number of centuries. This fascinating place hosts thousands of visitors from both the western and non-western world every year. So what is Attard seeing while shooting this series? Is there a common dominator with the history of the place since his piece features the Mexican flag, or is it only an aesthetic exercise? It is easy to compose something aesthetically pleasing in such colourful environment. No difficulty at all to find a corner in the city to capture the state of this important country. But what did Attard arrest in these snapshots? He definitely captures colour, bright vivid warm colours which reflects the hot weather. Attard also captures the repetition of texture, horizontal and vertical lines which make the viewer understand what the composition is all about. The subject captured in these photos is in fact a number of shutters; very colourful and textured shutters. What do these shutters tell us from an aesthetic point of view? And what is so intriguing in shooting a number of shutters? The most compelling aspect of these shutters is the solid flat warm colours with textural motifs. But, is Attard interested in the aesthetics of these shutters. Where did he see these shutters? Where these found in a particular neighbourhood or rather is there a detail which makes these shutters different from others. He could have easily taken photos of a number of shutters here in Malta
A series of doors taken in Strait Street, Valletta, between 2006 and 2007
The name of the street – Strada Stretta – is an aphrodisiac. It’s a circus of light, sound and human voices as hundreds of gallons of beer are downed every night. And many a young man gets aboard his ship in the morning none the worse for wear. If Jolly Jack could bear, albeit with clenched teeth the harsh discipline on board his ship, he believed strongly that likewise he could cope with long hours of drinking the famous local ales and think nothing of it. Norbert Francis Attard has gone on this solemn hajj recording with his inquisitive eye the seemingly still warm façades and ailing yet vigorous shop signs in Strait Street with a heavy heart, I would imagine. I say this because being the gifted artist that he is, Norbert would probably read much more in each photograph than the eye would capture at first sight. His was a clinical post mortem, trying to look at what remains of this great body of entertainment, as it lies comatose. Was he hoping that by recording the rigor mortis, the street’s dying moments, the collective energy lying dormant behind these edifices would one day spring back to life and resuscitate this surreal passageway?