DESIRE FOR INTIMACY 

 

 

Treating human bodies in painting express the desire for intimacy. The intimacy is today treaten by our obsession of sharing almost everything of our private life's.

 

So I try to catch and present that intime and unique connection between bodies. It's something that's only yours. Like your love, emotions, memories, pain, wounds, sexuality...

 

Something which is definitely worth to be preserved.

 

Lovers in different positions – the variety of connections reflect the diversity of human relations.

 

So, why am I interesting in the human body? Body means existence and existence is outstanding. I am searching to understand what it means to be human. We are not simply the dressed person we present to the world. We are the mind and body we inhabit.

Using art as a multi-faceted instrument that deals with spiritual, social and political aspects of human nature is crucial to my working practice. By applying my working method, paintings and drawings with layers of different materials such as canvas, paper and wood, with sea sand and different kinds of textiles are created.

 

My studies of the human body – uninhibited by social taboos, limitations, embarrassment or shame – put the human condition up for discussion. They explore subjects like age, memory, love, emotions, challenges, pain, wounds and healing, pregnancy, sexuality and identity.

Through these bodies beauty is not treated as an issue, but the fact of being human, especially the fact of being a woman. My works reflect the woman’s role as a bearer of fertility and creator of life in general. This implies the examination not only of the symbolic aspects of femininity, but also the biological premises such as menstruation or sex.

A series of my paintings depicts lovers in different positions; some are protecting each other, some are merging to a new united being – the variety of connections reflects the diversity of human relations. Since there are no details of the couples visible, we are dealing with presentation that depersonalizes; the figures even invite the viewer to identify himself/herself with them.

Another part of my work are portraits, mainly showing older people with the backgrounds that have direct relation with lovers’ series. At first sight their faces might seem unfinished, but appearances are in fact deceptive. It is time that corrodes the faces by eating away parts of them and causes the incomplete outer forms. What remains is the very essence of the person’s character, his/her experiences, memories and thoughts.

 

Can you also see more than what is obvious to the eye?

 

 

 

 

                                                                                                                                                                                       Albana Ejupi

                                                                                                                                                                                       

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