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Vince Briffa's Solo Show At Heritage Gallery, London

The Heritage Gallery,
Old Royal Navy College, Queen Anne Court, Greenwich, London
April 8th to May 10th, 2024
Supported By
Photo-Laura Briffa.JPG
About Vince Briffa

Painting, sculpture, video, and installation are all areas of work for Vince Briffa.


He is a Professor of Art at the University of Malta, Fellow of Civitella Ranieri Foundation, New York; and an International Associate, at CUT Contemporary Fine Arts Lab, Cyprus University of Technology, Cyprus and the Scuola di Cinema, Accademia di Belle Arti, Catania, Sicily. He was awarded the prize Omaggio all’Arte ed all’Innovazione a Venezia 2019 at the 2019 Venice Art Biennale.


Briffa’s work has been exhibited in numerous prestigious venues including the Malta Pavilion, Venice Art Biennale, 1999 and 2019; Pierides Museum, Cyprus; Palais des Nations, Switzerland; Museum of Modern Art, Liechtenstein; Casoria Museum, Naples; Villa Manin Contemporary Art, Italy; MAC, Argentina; Palais Liechtenstein, Austria; Museum of Fine Arts, Romania and Museum of Modern Art, Israel. He was commissioned to design the monument to commemorate the Valletta Summit on Migration in Valletta in 2015. His work forms part of many local and international private and public collections.


Briffa has also curated exhibitions internationally including the NRW-Forum, Düsseldorf; the Münchner Künstlerhaus, Munich; Les Rencontres Arles; De Harmonie, Leeuwarden; and the Museum of Fine Arts, Valletta amongst many others.

I often think of my work as an ongoing book, where each work, like a mark, a note or a thought made in its margins, adds a new layer of reflection and meaning to the organic and entwining flow of the narrative of the main text. Although hardly considered marginal, this distinctive activity in the margins is mainly defined by its relation to the main text, since the margins are perceived as the excess, at the periphery and surrounding it. Margins also define the physical limits of the book, and yet too frequently, the habitability of the margins through writing and other marks is perceived as simple observations or notes, being less valuable and with little to no influence on the main book.
The works in the exhibition are therefore marginalia extracted from a current chapter, in themselves in a state of becoming, that dialogically contribute and become one with my current narrative concerning the interdependence of form, paint, colour, materials and gesture, and anything else in between.

My work centres on the co-existence of dualities. It treads blurred borders and investigates uncertain divides between opposing poles. It synthesises extremities and acts as a seam that binds together disparate realities. 


Uncertain of its actuality, it questions its being.

I am not a painter or sculptor, I am also not a filmmaker or a writer.

I produce 'work'. 

It is my vocabulary. It is the vehicle that best embodies my thoughts and connects all my creative output.

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