Four windows of the experience of essence
April 25 -May 4, 2009
Opening April 25th 2009 6 – 9 pm
The human being doesn’t appraise anything else in the world more than the beauty. He always seeks for it, but never has the opportunity to answer why and to concretize this value which is imposed continually. As a consequence, beautiful things and phenomenon are incomparable in the impossibility of their reiteration, but the comparison with something else as well. They in a form of the untouchable nature represent the beauty, such as the human remains astonished wondering what happens to him when he gets in contact with the substance or the phenomenon of the beauty.
Calistic synthesis of the four artists-Reshat Ameti,Safet Spahiu, Bashkim Mexhiti and Ilirjan Beqiri represents four opened windows of the finite, the temporal, the limited toward wide horizons of the physical and metaphysical reality of the existence. Poly-dimensionality of their paintings represents harmony of the spirit phases as in the abstract phenomenon and in the concrete spirit as well. The idea is infinite, bursts and outflows from the artistic work frames, while the form represents the form of the limited human’s creation but including the various time periods with harmonic proportion of the local, traditional and global, avant-garde.
Reshtat Ameti doesn’t paint, but he feels the conveying of the infinite idea in the concreteness of the fabric. He doesn’t reproduce, he gives shape. Contradicts with the laws of nature and gives a form to his internal feelings. In the essence of Reshat’s artistic creativity stand the impulses of sub-consciousness, of dream. The warmness of his soul is felt in the luminosity, concreteness, impressive background and use of the characteristic colors for the earth and sky spheres and for traditional spheres of the painter’s environment as well. Reshat’s painting is a mirror, which identifies you in silence while u stand in front of it, while pour the feeling in the frames of the words it gets foggy. In the simultaneous time segments and in the motion of the observing corner, as a metaphor of the out space quietness, Reshat is focused in a short relax and amusement which ends with a silence and luminous peace.
Pictures and the artistic concept of Safet Spahiu are underlined with sensibility of the exceptional for the absolute. His metaphysical thought attempts to exceed the phenomenon world and to be represented as it is idealized in the spiritual practicum of the artist. Through his figurative system, Safet, makes possible the appearance and the exposition of the hidden reality of historical phenomena and anthropological culture of his people. The contemplative form of his work brings myriad conclusions, but in the epicenter is the interpretation of time and space impossibility of the exceptional syllable in the desired reality of the author and extended in the flat of beauty and arts. This chronicle sui generis for the people and the events through the tales for the labyrinth of inherence is glorified in figurative mythology in which are a blended element of the real and surreal, paradoxical and satire, creamy amusement and obsession, of historical and present. All this reality is expressed in the colorfulness, determination of the elements and dimensional latitude of his fabric.
One of the figurative and pragmatic phenomena in the artistic expanse of Albanians in Macedonia is the free creative personality and ritualistic activity of the painter Bashkim Mexhiti. His artistic work expresses a figurative and rhythmic harmony and free gestures of the painter, in the aspect of the automatic action in the moment when he stands in front of the painting. His fabric contains all the ideal dimensions of his spirit, which within a short interval of time they change, develop, darken, brighten, flush, clarify.
Vertical fields in his paintings in the free poetry form represent luminosity of the vertical history, respectively out of time and out of space history of existential reality, while those horizontal are darker and seems like they yowl before the material tarnish of the absolute purity of the truth. Consequently Bashkim Mexhiti has not tried to transfer the abstract figurative forms into the fabric, but has struggled greatly and has achieved his purpose, to use legal quantity and modality of automatic action. With this he has found the key, which ad infinitum opens the conscious room with lots of mental bedims of the Balkan man. Voringer says that the desire for the reality reword is an adequate expression of handling between man and nature that surrounds.
The artistic spirit of Ilirjan Beqiri is impressed by the landscape of his country, and through his imagination reword he expresses the reciprocity with it. Fields and valleys in the Beqiri’s fabric are elaborated in his imagination and afterwards presented according his spiritual reflection. To express intervention of his hand, he several times linear fences of the horizon. It seems like he wants to raise his voice against figurative restrictions of freedom, will and truth. Fortresses in his painting, in one side express the voice of conscience which stands as a giant in front of the evil, while on the other the physical survival of Illyrian gene in this expanse. Harsh and dark colors help to be expressed the anxiousness but the ideological attitude of the artist as well. The artistic work and style expressed in paintings of each of the four painters is a conceptual and figurative entirety but jointly they represent a conglomerate of figurative and artistic sky of the Albanians in Macedonia during the end of century XXI and early century XXI.
