Introducing Katel Delia (Katelia Art), a remarkable photographer and multi-talented artist whose work transcends traditional boundaries.

Known for her evocative images and captivating art pieces, Katel brings a unique perspective to her exhibitions, where she seamlessly blends photography with other art forms to explore themes such as identity, nature, human emotion and environmental awareness and preservation.

With an eye for detail and a passion for storytelling, she captures moments that resonate deeply, inviting viewers to see the world through her lens and artistic vision.

In this interview, Segun Martins Fajemisin seeks to know more about Katel’s creative journey, her inspirations, and the insights she’s gathered from a life dedicated to photography as an art form.

Introduce us to Katel Delia (Katelia)…

I am Katel Delia, born in 1975 in France, and I have been living in Malta since 2016. In 1999, I completed my DNSEP degree at Beaux-Arts in Rennes, and the following year, I plunged into the internet bubble as an artistic director and project manager. In 2015, I showcased my artistic projects for the first time, creating installations that merge photography, sculpture, and writing. My focus centres on how traces of the past reflect into the present, especially within the context of migration.

One of my photography series was honoured with the CAP Prize (Contemporary African Photography Prize) and the Maghreb Photography Awards. My work has also been featured in various photo festivals and collective exhibitions in France, Malta, and Switzerland. I’ve held solo exhibitions at Spazju Kreattiv — “Malta – Tunis – Marseille” (2021) and “Familja migrAzzjoni” (2017)—and my immersive photo installation “The Last Breath,” created at Il-Kamra ta’ Fuq, was presented at the Circulation(s) Festival in Paris. I have also been a finalist at two Maltese awards: Premju Għall-Arti and ArtzID.

Besides my own artistic practice, I conduct creative photography workshops for a range of audiences, sharing my passion and techniques with others who wish to explore this medium.

What inspires you more – capturing moments with photography or creating from scratch as an artist? How do the two practices influence each other?

I started photography at a young age; I used to capture moments with my family and friends. At the Fine Arts School, I engage my photography practice more artistically. I consider myself as an artist who uses different medium, sculpture, video, son, photography included.

 How do you decide which pieces to exhibit? Do you look for a specific theme or message when curating your exhibitions?

For instance, invited by Melanie Erixon, the curator of the collective exhibition “But I see Beauty and Wonder…” I wanted to create a new art piece about how plastic invades our lives and distorts our ecosystem. Hidden Beneath comprises two projections of underwater photography. One smaller scale is cast onto a screen made from various plastic materials fabricated by me. This screen symbolizes the growing intrusion of pollution into these serene spaces. The underwater landscapes around Malta are mineral almost empty.

On the other hand, all the photography (works) are from Ċirkewwa that has been reclaimed as a safe haven for fauna and flora, just a couple of years ago – allowing no boats or fishing. I was mesmerised during my dive, being surrounded by so many fish, natural beauty and all the life flourishing in this protected zone in a short time.

The exhibition is organised by Spazju Kreattiv as part of the ŻiguŻajg Festival, in collaboration with Arts Council Malta. (9^th November 2024 till 5^th January 2025)

Hidden Beneath Installation link (©Katelia Art):

When you’re photographing, do you think like a painter or a visual artist? If so, how does that impact the way you compose shots?

Most of the time, I take photo because I have a powerful emotion, and I want to capture it. With the postproduction, I will emphasise on this emotion. However, I also like to play with photography, and I do not look especially to “Decisive instant” as I like to play with diptychs, triptychs, accumulation or photo collage, photomontage. Therefore, some images can stay long in my archives before I find the right way to use them.

 Can you share your creative process when developing a piece that blends photography and artistic techniques?

I do not have a process that I repeat each time. I am always researching the best way to express my thoughts or my concern through art. It can be a series of photos, a video, or an installation. I do a lot of research, historic, sociological, and scientific. Along the way, I create mental images; if those images stay in my mind, then I take notes and develop them further.

 How do you hope people feel or think when they view your work? Is there a particular reaction or interpretation you aim to evoke?

In the case of Hidden Beneath, I hope people will quickly identify that the two projections (offer several differences). Noticing the difference, they will identify the main meaning of it, and they might find other interpretations. I like to pop up in the exhibition and listen to the visitor’s interpretation of my work, news layers of meaning are also validated and might push people to take action.

  Are there certain subjects or themes that you return to, both in your photography and your art? What draws you to them?

Yes, subjects like memories what we learn or forget from the past, I am particularly interested on migration, definitely because of the complex journey of migration of my father’s side family and being a migrant myself. I am also concerned about protecting the environment. It is the key point and should be the starting point of all society’s questions / issues, social equity, human being, migration, economy…

 What do you find most challenging about preparing for an exhibition, and how do you overcome those challenges?

When you imagine an art installation for a specific site, you have to take into consideration various elements, how the public will approach it from afar until being next to it. So I sketch as much as I can. Regarding the technical aspects hanging system, light… upstream, I think about various options, and I bring them on the day of the setting up.

How has exhibiting your work influenced your growth, both as a photographer and as an artist? Are there specific lessons you’ve taken from the exhibition experience?

I consider myself as an artist who uses different medium, photography included. All exhibitions are important, even having a small piece in (a) collective exhibition; it might be a stepping stone to a bigger project.

I am still at the early age of my artistic carrier so for each exhibition; I produce something new. Only Malta – Tunis – Marseille and The Last Breath have been exhibited more than once, but each time differently.

 Do you have a preference between traditional photography methods versus digital or manipulated approaches when presenting in exhibitions?

I started with traditional photography even when I started underwater photography. Now I used mainly digital photography. However, currently, I am working on a project connected to the past, so I decided to use film.

 What’s next for you creatively? Are there any techniques or themes you’re excited to explore in upcoming projects or exhibitions?

I have more than one project on the way. It allows me to jump from one to another when I am a bit stuck on one of them. As it is confirmed, I can tell you that I am part of an international collective exhibition “Two Suns & Two Moons” curated by Claire Ducène and Margerita Pulè in July 2025 at Malta Society of Arts.

*NB: This interview was conducted via email. Segun Martins Fajemisin attended the Spazju Kreattive (Valletta) venue of Katelia’s installation on Sat 9^th Nov 2024 where because of her engagements, the interview with Katel could not hold.