The paintings of pajsaġġi, which translates to ‘landscapes’, demonstrate how Victoria takes advantage of her oil paint alla prima and boldly applies the oil method to experiment, record, and idealise the scenes. The medium gives her works a sense of surrealism, like a hazy but significant memory, or a dream that plays on loop in one’s mind.

Agius often contrasts the chalky whites of foamy waves, as well as the gentle yellow tones of the Maltese limestone and cliffs, with the intense blue tones of the Mediterranean. The paintings exude a kind of serene solitude, transporting onlookers to moments of total stillness, where nothing moves except maybe the current of the sea. The artist’s skill and personality are reflected in the ethereal pictures of these scenes, which clearly hold special value for her.

She romanticises the splendour of Exiles, the stony shore that never fails to bring back memories of her carefree early years and adolescence, inspired by the glistening sea and the delicate rocks. Victoria presents a fascinating angle of the chevron-patterned Qbajjar Salt Pans in Gozo, a beloved location where she shared countless special moments with her young children Gordon and Theresa. Her depiction of the Dingli Cliffs’ dusk sunset evokes memories of her leisurely walks, when she would capture the picturesque and enchanted moments of an almost dreamlike vista. Thus, the exhibition is like a montage of Victoria’s memories, from her point of view.