Myths Reimagined: The Swan, the Self, and the Surreal with a.d.

Tw: some mild nudity

We recently had the pleasure of speaking with a.d., one of our talented Issue 04 contributors. Based in Malta, a.d. is a bisexual poet and visual artist whose primary medium is photography, especially conceptual and surreal self-portraiture. She also occasionally experiments with painting, sculpture, and collage, exploring different facets of expression through each form.

We talked to her about her artistic journey, influences, and creative process.

Q: How did you get into creating art?

A: Ever since I was little, I’ve been fascinated by the act of creation, not only the end result, but particularly the process. I briefly studied art at school, but then moved on to other areas of study. However, my passion for art never left me and only increased over the years, allowing me to continue exploring and creating on my own. 

Q: Can you describe the piece you submitted to Three Panels Press, what inspired it, and how did it come to life?

A: The myth of Leda and the Swan has always fascinated me, especially the idea of the swan, which is a fascinating creature. The choice of a swan as a guise for the means of seduction is quite an odd choice, and yet, perhaps because of this, it is still rather intriguing. It’s fantastical, horrifying; it has the bearings of a dream. God goes out of his way to take what he wants, because that’s what God always does. It has that same hopeless undertone that is present in most myths and tragedies, of things being unavoidable because they are preordained. For anyone unfamiliar with the myth, through this violent union, Helen was conceived, who would grow up to be the cause of the Trojan War.

I was also writing a poem around that time, shortly before I started working properly on this piece, about the myth. I also have more versions of this piece that I’m working on, a continuation of sorts, photographic panels that can be seen as standalone images or connected and moved around to create different narratives.

These works always start with a shooting session. I already have the poses I need in my head more or less, so I shoot them, and then work on them digitally to create the double exposure effect and other elements or textures that I need. Most often, the result isn’t exactly what I had in mind initially, though that isn’t necessarily a bad thing. Sometimes the work takes a life of its own and surprises you, which is part of the joy of creating.

Q: What themes or ideas are you currently exploring in your work?

A: My main project at the moment is a series of surreal self-portraits that deal with the multiple facets of the self, which the Leda piece also forms part of. I enjoy taking on different guises, both to explore various characters and concepts, and also as an exercise in self-exploration. Most of my works have a ‘dark’ vibe, and I often incorporate elements of religious trauma, feminist themes, and eroticism. 

Q: How does your identity, background, or lived experience influence the work you make?

A: Being a woman, I like to point out issues and injustices that affect women in my work. I was raised Catholic, and that has also become a huge influence, as religion is often used as an oppressive and silencing tool, particularly when it comes to female and queer sexuality, which is something I advocate for. And of course, my passion for classical history serves as my main inspiration, as a lot of these issues were present in antiquity, so this allows me to dig deeper or present certain concerns in a more visually striking and less personal manner.

Q: What kind of response do you hope your work evokes in the viewer?

A: I’m not particularly interested in reassuring the viewer. I mostly make art to unsettle and provoke. Beauty is important in art, but its impression often fades, so if that is all a piece has to offer, it’s unlikely to leave a lasting impression. I enjoy multilayered works and strive to achieve that in my work. I want the viewer to stop and think about my piece and what it’s trying to communicate, to open the eyes they have been keeping closed, whether unintentionally or otherwise.

Q: What artists, movements, or unexpected influences shape your aesthetic?

A: Francesca Woodman’s haunting and surreal photography has been a huge influence on my own. As I mentioned earlier, I enjoy classical aesthetics, particularly classical antiquity and religious imagery, and those often serve as the basis of my work. The philosophy of Georges Bataille is also another influence, along with the cinematic themes of Cronenberg and Pasolini. Even though I shoot digitally, I try to capture the look of vintage film photography and incorporate elements from it in my work, particularly blurry subjects, hazy light, and grain, and I shoot primarily in black and white.

Q: Why is art and its history important, in your opinion?

A: Art is the core of the human experience. Humans have always turned to art, in its multitude of forms, to express themselves, to communicate, to console. We are all capable of emotion, and it is this presence of emotion that is required to make art. As an artist, I personally value the process over the finished product, simply for its cathartic effects. The process with its variables and the multitude of things that could go wrong. Flaws that only a human could make. Flaws that are beautiful merely because a human made them, that enhance the work rather than spoil it.

Art is a self-generating concept. Art begets more art. So studying art history is not only a means of discovering ourselves and learning about our origins, but also a catalyst for creation.

Q: What motivates you to create?

A: For me, creation is an urge, an exorcism. Simply the idea of getting something out of me so I can free myself of it is a good enough motivator. I also want to scatter a tiny piece of myself; to make a mark on the world, however small; to leave something behind for whoever needs it.

Q: What challenges have you faced in your work and how have you overcome them?

A: I am a bisexual woman making art with an erotic undertone, so there will always be people who find an issue with that, but that is something I’ve prepared myself to deal with, as I am confident in my work. My main challenge currently is trying to find my audience. That is something I still haven’t succeeded in overcoming.

Q: Who are some of your favorite artists?

A: I have so many, across different mediums. All the people I mentioned above are my influences. The words and music of Patti Smith, Leonard Cohen, and Bob Dylan, who are my most favored artists to listen to while creating. As for visual art, and photography in particular, I also like the work of Man Ray, Robert Mapplethorpe, Dora Maar, Duane Michals, and Andy Warhol, among many others.

Thank you for taking the time out to share more of yourself with us, a.d. Find a.d. here.

included work:

1. duality of self, 2022, published in Small World City

2. absence of self, 2024, published in Audi Locus

3. surrender, 2024, published in Hominum Journal

4. Leda, published in PISSOIR! (Salò Press)