"In my paintings I donít seek to
tell a story, I am not interested in anecdotes or even
detailed descriptions of objects. My obligation is to
separate something from within and translate it in a
strong subjective manner"
ó Bujar Asllani
Original Monotype Paintings
In my paintings I donít seek to tell a story, I am not
interested in anecdotes or even detailed descriptions of
objects. My obligation is to separate something from within and
translate it in a strong subjective manner.
Naturally the environment and migrations have their effect in me
artistic journey. The Mediterranean region where I was born and
molded as an artist, dictates the remnants of ancient cultures
and legends, from the Illyrian and Hellenic enclaves to the
great Roman and Byzantine empires. Although I have chosen not to
imitate or borrow the same artistic mannerisms used by these
cultures, I constantly sense the way their energy affects my use
The 90ís brought an era of social transformation in Albania. The
collapse of communism in Eastern Europe also led the way to
freedom of expression. Nothing would have helped me better at
that time than the technique of the monotype, for it allowed the
quick transfer of my long repressed feelings onto a substrate.
This memorable mark of events, I think, is very much responsible
for the expressionistic intent of my art.
The most important element in my works has been, and still is,
the human figure. It is not so much the subjective approach that
interests me as it is the internal emotional state.
As always this figure is the perfect form of sentimental
expression. After establishing the human presence, I steer my
creativity towards an engagement of elements and space, where,
through the abstract, I attempt to create a proper compositional
language to express the feeling as the main subject, while
attempting to explore new aesthetic grounds.
Generally I prefer to keep a position between the real and the
surreal, reality and dreams, the objective and subjective. It is
through this constant state of flux that I claim freedom of
expression. I need to believe that my work has a certain
presence of realism, just enough to intrigue or pull the viewer
into the spiritual vortex I am trying to express.
Emotion is of the outmost importance. It dictates the tools I
use. Emotions also have their influence on my personal style,
but I believe that by the time emotion has made its way to the
canvas, the true style is already present. I never felt the need
to search for any type of stylistic approach to my paintings, as
I see style to be a natural bi-product of true art.
The naive and somewhat subliminal interest in color as a medium,
gives me the irresistible urge to violate the white surface of a
canvas by throwing at it a restless play of tense lines and soft
tones which start to unveil the image of the female figure. The
moment I feel the first signs of this emerging subject, I seek
more inner awareness so that I can carry my concept to a more
peculiar sentimental stance, thus leading the way to a new kind
of harmony of elements, never before experienced by me. This is
what I consider a true quest for exploration.
I donít necessarily always hang on to a premeditated subject, as
it has to withstand the test of execution, a process from which
other more promising subjects often emerge. These new subjects
are often mere visual concepts, but they often spark a greater
hope for success, as they carry the fruits of random variations
and non-premeditated expressions. These are subjects that I try
to learn from and carefully observe. It is at this point where I
let the new subject dictate the appropriate manner of execution.
Often I have to painfully sacrifice the embellishments of
interesting details in the quest to retain these emerging
subjects in a new composition. To go through with this, I often
have to distance myself from well established artistic values,
do away with everything that connects me to them, and start
using coarse tools, often unsophisticated, in order to go
against the flow of well established values of harmony. It is in
this place that I look for the catalyst of something sensational
and when I feel that there is hope in this new creation I often
think of Geteís expression: ďThe biggest pleasure is that of
transforming spaces :::
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