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Within a culture that likes things to be simple and pigeonholed, my artwork engages in a complex conversation about the structure and meaning of (subjective/intimate) emotional truth while making sure to keep a firm eye on the very thin line that divides sincerity of expression from sheer banality. To this effect the full body of work comprised of abstract art mixed media canvases, multi-layered figurative collages, conceptual photography, art for children collages and biomorphic digital compositions is meant to provoke a desire, in my audience, to impose a story upon the image in order to answer the question of how to be at once earnest& ironical, sensitive& cerebral.
Of course, by choosing the “novelistic practice” over the aridity of contemporary art conceptual stances, I run the risk of suffocating my work in grand narratives, but I insist on preserving the concept of narration as an effective way of allowing the imaginary to continue to be a source of new ideas in exploring the intimacy of emotions. Be aware, when I speak of the emotional core of lived reality it is not to be confused with a simplified romantic notion of emotive feelings whose superiority goes unchecked. On the contrary, my work does not avoid registering all the pressures of the world around us, albeit sometimes by simply setting them aside. In my brand of art, the concept drives the work but not at the expense of beauty and materially which are integral to the artisanal nature of my painting and photographic collage. I am in awe of the beauty of textured surfaces and tactile experiences but I am likewise, in awe with the irony of self-referential beauty. My artworks may exhibit a a strong “aesthetic quality”, in other words, they may be a bit too beautiful to be appreciated as critical or socially engaged (although, in their own way, they are both) but at least they steer clear of pretense at social redemption as a way of avoiding criticism on artistic grounds. In this sense, my work is (theoretically) supported by Michael Fried, one of the most established art critics alive today, who is wary of categorizing art as an event. When this happened, he thought, viewers don't appreciate the artwork itself, rather its broader cultural context. If art becomes nothing more than a cultural event, then it adversely compromises the way in which art can be appreciated; reactions will be conditioned by surrounding socio-historic circumstance, which will avoid consideration of the artwork as an independent entity.
While I have a particularly strong appreciation of many contemporary artists such as Julie Mehretu, Sheila Hicks, William Kentridge, Gunther Forg, Albert Oehlen, Cecily Brown and Adrian Ghenie, in my own art journey I am often looking for something different from them. I am referring to my understanding of the importance of balancing nuanced coloring (Henry Matisse) and strong materiality (Jay DeFeo). I am also referring to the fact that the majority of my images operate within a closed system referring to a “world of infinite durability” much to the tune of Jean-Baptiste-Simeon Chardin and become a venue for the outer world to meet the inner world (Edward Hopper) in order to get to a place where all parts are equally artificial and thus equally open to the slightest breath of poetic association (Joseph Cornell). In other words, if my task as an artist is not to capture emotional truth and create beauty, what is the point of being an artist?
In Ragnar Kjartasson's words "....the artwork becomes the stage upon which the ancient instinct of the hunter-gatherer takes over..." and colors, textures, surfaces, and memories grab your brain, your heart, your all in such a way that deep thinking and reflection on cultural concerns are dealt with through images that offer a genuine aesthetic experience.
The rest is politics and theater.
Odeta Xheka, Artist
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SHIPPING AND RETURNS Skyline Art Prints Shipping and Handling Skyline Art Prints ships nationwide with USPS and UPS. There are a number of variables that will affect the price of shipping. This makes setting a standard shipping fee structure pretty dang difficult. The price you see at the check out will be calculated based on weight, quantity and size. Here's what to expect: Small to Medium Orders $13.95 - $32.95 Medium to Large Orders $46.95 - $56.95 Oversize Orders (36x48 and larger) $149.95 - $199.95 We ship the cheapest route, using USPS and UPS. Shipping dates range from 1-7 business days, depending on distance. Customers will receive tracking number via email as soon as their order has shipped. *In-Store pick up – FREE for all Texas residents. Option is available once TX address is entered at check out. Please contact Skyline Printing if you have any questions about your order at (512)497-2822 or email@example.com Skyline Art Prints guarantees the safety of your prints! Skyline Art Prints Return Policy We do not accept returns. All sales are FINAL. There is a 25% fee for any changes after the order is placed. Did your prints arrive damaged? Please keep all packaging and contact Skyline Printing for further instructions to replace your prints: (512)497-2822 or firstname.lastname@example.org https://www.skylineartprints.com/shipping-and-returns
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VERIFIED ARCHIVAL MATERIALS USED The Art Storefronts Organization has verified that this Art Seller has published information about the archival materials used to create their products in an effort to provide transparency to buyers. DESCRIPTION FROM MERCHANT: Museum quality Canvas and Fine Art archival prints and reproductions. 100% acid free archival cotton papers - a true museum quality appearance.
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