Impressions from the exhibition “Know Yourself”
Krejt në fillim Enesa e bëri një pikë në letër sepse fleta të cilën e kishte përpara ishte krejtësishtë e bardhë – e zbrazët, si asgjë nuk kishte në të. Pastaj pranë pikes ajo pikën e shtoji dhe me pika vazhdoi deri sa e mbushi faqen e parë. Qysh rrushi piqet rrushin duke e pa, ashtu edhe pikat saj filluan me iu pjekë. Fletë mbas flete ajo e mbushi krejt faqet deri sa nuk e plotësoi notesin e parë – me kumedijtë sa miliona pika të cilat kanë një rend e dyzije sa vështirë është njeri me dallu nëse e ka bë dora apo ndonjë vegël e saj. Ata nuk i ngjajnë aspak pikave ekspresive të Pollok-ut Jackson, e as të atyre të Seutat-it Georges i cili me pika ka ndërtu realitete impresive. Pikat e Enesës kanë një përpikmëri të një rituali shpirtëror arkaik që vijnë nga mbrendia e saj – nga gjendjet e saj emocionale.
This became the first phase of her artistic journey, which, by the way, is not presented in this exhibition—it awaits another special occasion.
In the second phase, she created an entirely straight line, almost perfect, like the line of the Great God who, on the second day, divided the horizon to create the world according to our understanding. She then lifted that line, brought out its shadow, and with the shadow of the line continued painting until she completed her canvas. Canvas after canvas, the shadows revealed the color beneath, thus completing the second phase. Keep in mind, these are not lines drawn expressively like those of Vincent van Gogh, nor like those of Piet Mondrian. The lines in the relief of her canvas create dramatic shadows, as if the Mediterranean sun in winter casts shadows from objects into its rays. They are both warm and cold; one cannot tell whether to stand before the line or hide behind the shadow. Perhaps this is the author’s own dilemma, I would say, without certainty!
Thus she created her second artistic phase.
Në fazën e tretë ajo vijën e lakoi, e kapi dhe e shtrembëroi. Pastaj e theu, e këputi dhe në copa e dekonstruktoi. Diçka nuk i pëlqeu si duket, e bëri një hap a dy prapa dhe pastaj prap vazhdoi me ndërtimin e tyre, por tash me copat e mbetura të vijave të lakura, të këputura e të coptuara. Thu se I ka huazu këto elemente në oborin e një baushtelle me mbetje të copave të stiroporit për izolimin e fasadave. Në dukje të parë kujtojnë pak konstrukcionet e Tatlin Vladimir-it, e ma Malevich Kazimir-it. Megjithate materialin për krijim Enesa e huazon nga përvoja e mbrendshme e saj – këto janë shprehjet hidhërimit apo manifestim i gëzimi të zbulimit. Ndoshta I shërbejnë asaj si një lloj terapie shërimi, të shohim se ku ka me dal. Kështu në “ndërtim e sipër” është faza e tretë e saj.
In the fourth phase, she went to the beach in Dhërmi and, using grains of salt and sand, painted the horizon of the sea and sky before her. With dots and their uninterrupted movement across space or the plane that seemingly forms a line, she first presents an external view, that is something she sees with her own eyes. But be careful: this painted landscape is a trap set by her, in fact, it is a doorway into her inner world. It is too early to say what she will create in this phase, as the day is long, but for now, this is what Enesa shows us in her first solo exhibition, which can be visited at Hani i 2 Robertëve in Prishtina.
Enesa is an architect by profession, and perhaps her only connection to painting is the way she creates. She constructs her works like an engineer, from the foundation up, using basic artistic units such as dots and lines. She is a constructivist par excellence and a meticulous detail-oriented artist with maximum focus.
However, her paintings have no direct connection to her profession. With dots and lines, she builds neither gender nor form. Her works are a reflection of her inner states, which she presents to us in the exhibited pieces. It is best to see them in person, as her works are far more complex than this description. Perhaps only there can one get a glimpse of the creation that is Enesa.
If I may, I would like to paraphrase her words:
"Each raised line expresses its truth through its shadow… At first glance, one sees the line as a form, but the shadow presents the truth of its form."
Bravo Enesa, may your hand never stop.
Jeton Jagxhiu
Graphic designer and researcher
The blog was published with the financial support of the European Union as part of the project “The development of art criticism”. Its contents are the sole responsibility of Hani i 2 Robertëve and do not necessarily reflect the views of the European Union.
