Dragot

2008 - The Action Field Kodra exhibition (Thessaloniki, Greece / 2008 - "Restaging the Past", National Museum Szczecin, Poland / 2006 - “Discrete Elements” Chelsea Art Museum, Home of the Miotte Foundation, New York / 2005 “Discrete Elements” Chiesa di San Paolo Modena, Italy, (Catalogue) / 2005 “Discrete Elements” National Gallery Tirana, Albania.

DE is not meant to be labeled as a documentary sort of project. It does not intend to take a critical approach on its urban milieu.DE is simply a materialization of all feelings impregnated by a series of doubts and disputes inherent of the surrounding reality. The bud of contemplation, within genesis of these compositions, derives from a thorough examination of impact caused by an isolated image which in itself is a conversion serving as a symbolic reference to its original source of life. Video-frames, vibrant components of chronography, are chosen as the best route plunging into exploration of nature and logic implemented in any transition cycle. I am conscious of video-frames’ exalting character that thrives in all complex assemblages of interpretations trying to explain even the vaguest and most obscure questions. Chronography, as a whole, is a technique that resembles a pleasurable struggle aiming to present tribal images belonging to the same sequence with synonymous time frames and areas of manifestation. Such technique, representing symptomatic images within their own life span, is a mixture of painting and a fabricating, impersonal and neutral adeptness created by silkscreen. It is this technique that generates the notion of a system, of a principle, of a method and that of a prefabricated structure. The structure itself represents the timeframe in which we live. Here, in this structure, I see my own city and grasp the configuration of a social order. Ultimately, simplicity, captivated in a rendezvous of images, flows from an attempt to rehabilitate a coupling of art with reality. Also, it is this kind of simplicity that serves as the interconnecting point where artistic ambition probably coincides with the daily flavor.And, if we were to consider these images with the perspective of an aesthetic invention, we would conceive the impression of an iconography for the ordinary life. Nevertheless, Discrete Elements does not reflect upon and does not correspond solely to the essence of a confined season.Instead, Discrete Elements is a compilation expressing the phenomenon of an epoch that surpasses its preset borders. Similar to the epoch itself, DE is being transformed into a model of absolute for the modes in which one lives and thinks. Discrete Elements endeavor agonizing its viewers about our general outlook we tend to create as a response to these actualities. Discrete Elements is practice of painting with the intention of denouncing, with the ultimate goal of destroying, the vulgar aspect of an almost photographic reality. The content of their truthfulness does not playact an intensely honest transcript of feelings. After all, does a work of art - pretentious of depicting solely sincere emotions – succeed in coming through as candid or does it bear the aftertaste of a hidden pursuit under its dubious veil?

Done