In the inert, conversation and aesthetically unproductive Albanian environment to work in your own it is a good pretence to escape from the isolation of this jumping consist in burning the growth’s stages, in temporary avoidance, in the abandonment of helping stays.

The close and interns relation between Western Art and post industrial society have been virtual unknown for a long period of time.

My except began truing to find the mystery of human character. I was born in Tirana where I have studied for 10 years in National Studio “Alba Film “ in cartoon movies. My first personal show was in National Gallery 1993. The subject of my painting is the exploration of something instinctive of that aggressive vitality very far from human being without illusions completely domonated from nature, that is the key of misterious origin. Itried to destroy cultural constructions social conventions to be procreate from life’s misteries came to me figures wich look like “no human “ forms, very far from historic and human forms, but able to exist in the endless universe with unconscious impulses wich dominate human beings. So the paintings changed in mirrors of my research. I found out that near a universal clear love exist a conflict love, with wich you must have a good understanding. I found out that under a human rationality exist something hidden instictive, and all that, is the potential of mother Nature. After traveling through west my figures get simply feed in simbols. In 1997 in the same National Gallery in Tirana I built up an installation in a space of 100 m where the surfaces painted in black and white are fixed in a parallel way, where it is not possible to see them all together but only one after one. Apart of this way of fixing them in a concept take part the potential graphic contrast hundred of arrows, wich bang attack, go away, attack again, the strong rhythm that create the horizontal ribbons, the equilibrate dispersion of the squares and black surfaces to show out on real expressive situation wich derives from a sensible reality, charged emotionally full of tension towards them any artist would react.

Consciously I would suggest a simple work but rich of plastic valorous. The material on wich I was used to put the colours, took a special importance always protecting the relations with techniques of traditional painting.

I think my painting now had very strong relation with the early art of this century,

but enriching it with new elements it become contemporary. The special features of the land, the never seen before political and social situations defined me in the conception I made to my work. The way had to dipese them in the space would create with others make me call it installation. This makes that auditorium and the work communicate directly and strongly. My philosophy is that you can find harmony in the boundary between black and white and us an homosapience . I would like to influence just a little bit for the word to change toward this unity. To what extent this installation compatible with cultural environment? The installation is compatible with the environment to the extent that we are also compatible with experiences foreign to our tradition. There do not exist inaccessible or reserved forms. For me the installation come as a product of frustation of never being able to synchronize with circuit of universal forms. This thing didn’t make to believe that I should overestimate this type of art. The present shows that installation is now a beguile page of the story of contemporary art. I hope the future will bring to me more surprises.

Here is closed the second phase and starts a new age, now facing With a rich information about media art suggested to me an old love story could begin again as a new one. Now I see media as the highest degree the human manipulation has ever invented. That’s way I fulfill two video-installation projects. “The penetration” and “The stairs”. The alternative form of art, the jump into technical electronic means freedom of motion, language and sound, become elements I should assimilate during the efforts to understand and represent a contemporary, unstable and polymorphous world. This consciously selected alternative and in a real freedom, starts to extend the prospect, changes the perception the practices get into disorder and false myths get ruined. It invites the mediation, searches for mental elasticity and a big reserve for new experiences even those often are uncomfortable.

What seems realy important to me in openings of this kind is establishing contact with artistic laboratories of the world. I mean a real communication with an exchange of values and not a canonical “import” of some models or prescriptions verified elsewhere. Now my opinion regarding the representation of “image” from the hand-made (as in the case of painting) towards the machine this generated (such as media-art). Art can be art to the extent it is made by man for his fellow creatures. We will not be able to tramscend the human condition. The case of machine generated art, media art etc. Does not point to type art different from the one that existed since man since man’s appesrance on earth. The matter is about the new possibilities of mediating the artistic message, and receives it in accordance with his condition abilities and feelings.The technical means of expression do not replace the expression as such, wich remines human. I spite of the myths of superman, man-machine etc. We still are as were during the painting of Altamira’s frescoes.I think is important that the instrument not be fetishism and asked more than it can give. Video-camera is not more important in the artistic act, than say the crayon. But behind the hand as well as the machine is the same generating factor intelligence, sensitivity and human consciousness. As for the rest, is full of instruments. The technical aspect of making an artistic statement is only the vehicle used to communicate those desires to make. The artist has a place scheme and make up of the city and its future. My interst lies not in the aspect of how the piece is constructed and the need for the title (painting, sculpture, video etc.)But the concept crafting of the idea as to relate to the society in wich we live. Art is not the detached from social. It has always moved in the same direction with society as s whole. Some times it’s movement was projective, that is anticipated the directions of the movement other times it was reactive come later, as a response it has been repetedly influenceed by science and technique were born simultaneosusly, incorporating the same spirit. Science on technique provided the instruments, the matterial support and all. The revolutionary transformations are inside. What seems cleare is that when lunching some new tendecies the “old” once do not completely live the artistic scene. The stay remote, but able to intervene in the forefront of the artistic experiences. We will enter the next millenium with what was acquired in this millenium; utopias, dreams and unrest. What follows? Naturally it should be the icon, e-discovering our interior cohesion, the spiritual force and the quiet of contmplation. Further we have recognize that milleniums are not perfect either