Antoine Farrugia, a renowned Maltese sculptor born in 1969 in Mqabba, Malta, has built his reputation through abstract forms carved primarily from globigerina limestone. Known for exploring the sensual potential of stone while balancing smooth, organic shapes with raw materiality, Farrugia has exhibited widely both in Malta and internationally, with his works held in private and public collections. His current exhibition, "Għamja l-Għajn," is running at il-Kamra ta Fuq until August 24.

Reflecting on his career's most defining moment, Farrugia recalls a prestigious charity auction in Poland organized by the Omenaa Foundation, where one of his sculptures was selected and fetched $75,000. "That moment still fills me with pride," he said. "But beyond the monetary value, what truly marked me was the experience itself—being surrounded by artists from across the globe, all contributing their talents toward a greater cause. It reminded me that art can create a real, tangible impact."

The artist describes how that environment, "rich in creativity, generosity, and shared purpose," fundamentally shifted his perspective. It renewed his belief in the universality of art and reinforced his commitment to using his practice to connect, contribute, and grow as an artist.

Regarding social media's impact on the art world, Farrugia views it as an incredibly powerful tool that has transformed how artists connect with audiences. "Platforms like Facebook and Instagram allow me to share my sculptures with people who might never step into a gallery," he explained. He uses these platforms to document his creative process, share completed works, and offer glimpses into his studio life, creating a space where collectors, fellow artists, and art lovers can follow the journey behind each piece.

"I try to keep it authentic, letting the work speak for itself while maintaining a genuine connection," Farrugia noted. While acknowledging that the pace can be overwhelming, he chooses to engage with social media in a way that supports rather than distracts from his artistic practice.

On the topic of artificial intelligence, Farrugia sees it as a tool that becomes an opportunity when used thoughtfully rather than a threat to his career. "My work is rooted in physical interaction with stone—hands-on, intuitive, and shaped by the material itself," he said. However, he sometimes uses AI to visualize ideas or explore how a form might evolve before beginning the sculpting process, finding it helpful for refining concepts or sparking new directions.

"Still, the final piece always emerges through the physical act of sculpting," Farrugia emphasized. "AI may assist imagination, but the soul of the work comes from the hand, the eye, and instinct."

When discussing motivation and inspiration during challenging times, Farrugia explains that motivation is the first spark, and once it's there, inspiration follows. "It often starts with the stone itself. Each block has its own potential. When I look at a piece of limestone, I begin to imagine what's inside it," he said.

He recalls a particularly demanding commission from two years ago that consisted of 140 sculptures for a hotel in just over 15 months. "It was exhausting," he admitted. "But even then, my passion kept me going. When you love what you do, the work becomes its own energy. The stone keeps calling, and I keep answering. That connection is what carries me through."

Farrugia's approach to balancing creative instincts with audience expectations involves viewing commissioned work as a dialogue. His process is driven by the desire to shape something new, often starting in stillness where he reflects, sketches, and lets abstract forms emerge. "Abstraction gives me freedom and lets the stone speak," he explained.

For commissioned pieces, he engages clients in discussions about their ideas while offering interpretations based on the space and material. "The final work is never a compromise; it's a fusion," Farrugia said. "It carries their vision and my sculptural language. That meeting point is where the most meaningful work often emerges."

Describing his project approach, Farrugia welcomes every project as a challenge. Unless strict guidelines are involved, the process starts with an idea—sometimes unexpected, sometimes sought out. He then sketches and explores designs, with the material playing a crucial role in the development process.

"Each block is different, and part of the process is listening to it—its strengths, weaknesses, grain," he explained. "As I work, the form reveals itself. Routine comes later: refining, polishing, deciding on finish. Each sculpture is a journey—from raw stone to something unique. No matter how many I make, each one feels like the first."

Looking toward future projects, Farrugia is currently focused on his upcoming solo exhibition at il-Kamra ta Fuq, where he's shaping new forms, exploring contrasts, and bringing together works that reflect his current artistic direction. Beyond that, he deliberately leaves space for the unexpected.

"Even without fixed projects, I'm always in the studio—sketching, carving, or thinking," he said. "I collect pieces of limestone, some for immediate work, others for the future. The stone itself is enough—it speaks, surprises, and challenges me. As long as that connection remains, the work continues."

Farrugia acknowledges being deeply influenced by several modern masters whose vision and dedication to form shaped his artistic journey. Henry Moore stands out for his monumental, fluid sculptures that evoke nature and the human body. "His ability to create presence and softness in heavy material resonates with my own language," Farrugia noted.

Constantin Brancusi inspires him with the purity and minimalism of his forms—"how he said so much with so little." Jean Arp's intuitive, balanced abstractions also speak to him, as "his forms feel like they breathe." These artists continue to influence Farrugia not through imitation, but through their lifelong dialogue with material, form, and meaning—a spirit he carries into every new piece.