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MAGICAL ORCHESTRATION OF COLORS

The image of this painter has already been positioning through the story fluids of picturesque colors. The visitors of completed painting works are expected to be frequent and with affirmative intensity, as it is evident that the creative sphere of this painter will be sowed in the memory with plenty of values.
Gembi’s postmodern gift for painting is marveled with optimal impression. Thus, what should this creator do with specter of calm colors, even those that sprinkle candescence, is the habit of loving the work of visual art.

Xajë Nura – Writer

THE REMONSTRANT PAINTER

I met another young painter from Gjakova, three or four months ago, Gemb Xërxa, with whom we talked about painting, art, gallery as well as approaches to the social themes and the other ones that are our preoccupation in Kosovo. When it comes to the approaches of these themes usually you get dissatisfied and pessimistic, whereas at Gembi’s pictures we discover a dosage of surrealism, a kind of figurative alighting, frustrated people flying and their purpose is uprising.

In some other pictures, author has begun to seek for perspective and structure, and we notice some other cycle of painting, inspired from the patterns that look similar with objects, starting from the machines and devices. The objects have fogginess (they are blur), and they are expressed by movement with relatively high speed. The tendency of the painter to put the objects in movement gives us a clue that he belongs to the futurist group of painters.

Encouraging the painter for the art works made until now and for his authorial courage to organize an exhibition, I demand from the painter that this exhibition be an inspiration for a continuous commitment in pursuing his picturing, which in the future will be very promising for his incontestable success.

Pristina, 11.01.2008                                                                                
Kamuran GORANCI
Master of Painting

DISENTANGLEMENT FROM DEPENDENCY

Gemb Xërxa, through multi-dimensional colors and forms seeks after splendor that is hidden in the most mysterious perspectives of life, interlacing the sophisticated facts with a post-modern and futuristic style.

This painter of the present and future with his activity brakes down the barricades between dream and reality, granting the audience an immortal immenseness in their memories.

Gembi never could run away from the passion of “being free”.

Leaving his consciousness, perceptions, ideas and creativity absolutely free, he evidently avoids the rules of unnatural art concepts, creating a “free” and “mobile” spirit which is reflected in a lot of his art works.

In each of the pictures of this painter an aesthetic change and innovation is visible which can be characterized with a dynamic specter of colors, forms, lines, horizons…This is an indicator that artist like Gembi will be one of the most specific creators in the future…

Gjakush Çapari

GEMBI XERXA

The creator Gembi Xërxa, in his aspirations, generally in his picture sets and particularly in a painting-creation, with his creative ability and a natural talent as well as his talent gained by hard working and with totally free will, can choose the infinity of diversified forms of the three types of space surfaces. Thus, with an endeavor of a talent he has presented cylindrical surfaces, conical surfaces and cycle space surfaces.

Just so, with presentation of these three spaces, Gembi turn up as a special creator in the visual art, by all means with his own original style. I can freely and responsibly claim that Gembi has chosen the one that fits his creative fantasy, even with a clear fantasy which is perceived as sustainable in the definition of these three surfaces.

The art works presented on these three surfaces painter pervades with an artistic fantasy full of colors placed carefully and with a meaningful aesthetic. Furthermore, in this creative fantasy of Gemb Xërxa, an attentive audience can distinguish the birth, extension and development of these three surfaces. The peculiarity of this trilogy creativity lies in the fact that they are not static but locomotion. Actually the dialectics consists here, where Gembi as an artist comes up with a brush, colors, base, whereas it triggers our intellectual curiosity for their commentary.

The composition of the Gembi’s artwork is relied on measurments. In this case, the painter with a cogitative intuition, ingenious deftness, with an artful hand in brush usage, with harmony-coloration of colors and with all the formal and thematic characteristics, he puts the creativity on the right track.

In the creativity of Gemb Xërxa, thanks to his natural expression and those gained through his volitional and sustainable hard work, it arises an impression that artist has achieved the belief, sharp sightedness and the dividing force, in this case “rebel” one.

And thus, in the end, I can say that this befits and looks beautiful at Gembi. I wish him succsess in the upcomming exhibitions.

Erzen Vala
Painter
Chairman of the Association of Visual Artists, Gjakova

CHAOS AND DISORDER OF FORMS

The painter Gemb Xërxa’s tableaus are with lot of tension, an open tension that emerges from the concept and style which grants to art lovers the aesthetic sense under the magic sensation. The figures are poetic, of a world full of mystery (this mostly is being hidden behind the forms), a re-discovery of the art with an aesthetic approach along with his dwell and creation, a symmetry, a balance between the beauty (a real soul beauty which is understandable) and mobility (as in case of futurists), and all of this is interlaced aesthetically toward momentum, weight and matter. I keep contemplating the “Chaos”, where colors become the king of the play, image and beauty. A haunted image, with a lot of noise, suggestive, imaginative, non-fearful, a little bit dramatic, in some cases tragic too, but the peculiarity is expressed on the kingdom of colors and clashes of forms, and only the painting on canvas can create such a realities ( realities from the imagination and objectivity). This is the clamorous chaos where asymmetric diversity forms lay down, where a galaxy with life elements engorges, with delicate, fragile, weather-beaten, with and without fluid plants, it’s simply a life element, all around ground, but it also departs from itself toward over fulfillment. In this ground and above appears a firmament in a composition which sometimes is quite with a yellow color, and sometimes is turbulent and beautiful, which in itself conveys another planet above the reverie somewhere deep in the abstract paths, where the form has a starting point and its dumping creates inapprehensibility, which essentially bring forth real soulful and meaningful reliefs.

The foretold fate

Only the power of soul creates recognition and identification. This fragility, this abstraction is being smashed into other canvases, where humanity, earth and water produce fire with a lot of thorns in the crossroads, irregularity where the creation, universe and man bears, and this man is still seeking the reason between the thunderstorm and storm, among arrows, swords, frightening desert, and somewhere in spaces encompasses fires, magma and its energy. Here we can see another chaos which is totally immersed in fanciful forms, with a density of hard clanging of the brush, saturated with paint, which pours toward the space that is overfilled with a lot of momentums, dimensions, measures which in turn creates conflict above one another, a chaos (suffocation), but the courage and sustainability of the form can be perceived very well (initial idea). It is a real battle, well-known as a situation and confusion of the form, sometimes moving on the left and sometimes on the right side of the canvas, upside down, yet it is a struggle around self, a clash, although accidental from the foretold fate, or at the first subject which in turn is a soul unified into form. These are the evocations of the painter which are sublimated into lines, colors, measures, emotions, ideas and realities.

All of this has to do with something from cosmos, from cosmos into earth, or from earth (which according to imagination was cosmos), fantasy toward unknown deserts, and this takes us into asymmetry, balance loss, regulation toward abstract. In this cosmos the painter creates new firmaments and constellations, from the fire of human soul which infinitely burns out itself for the achievement of the disappearance in a finitude of creations. These fires comes from within his heart, without too many words, often in loneliness, tired from the life’s vapidities, which he drives them into disorientation, because that’s where they originated from. The artist doesn’t express his fantasy only through spontaneous surprises of the forms or from the play of colors, where he always leave the space with one color (almost with one nuance), but also from the fantastic prolific reality which generates reveries (deep into subject), and as an anthropologic space order, sometimes towards the known and sometimes towards unknown. Here, the fantasy makes an excess and reversion toward self-identification, now portrayed from an idea of life or poetic vapidity, which in turn is easily understandable. Attention! Right in the middle of the composition we can see some small forms rushing one above the other; these forms are as sharp se the pike of the knife, cylindrical stones, eruption, ironmongery, and a meteor falling from the sky, whereas on the upper side of composition yellow firmament whips fall straight like a snow, freezing rain, and at the finitude a yellow frost has conquered the mountains. Hereupon, the colors becomes sometimes warm and sometimes cold, eruption and only eruption, and right in the perspective we can perceive a serenity, it’s simply a bifurcation under the logical play of the possible state. When painting requires compound, it certainly conveys with itself an aesthetic opinion, irrigates the seeds of solution, but apparently the artist only applies this on definition and form, because he want us there to perceive the aesthetic idea and solution.

Play of colors

In his art, I don’t see only a circumstance, color play, harmony, proportions, but also creative energy copulated with comprehension, social and economic reading, and at the and it is real. On the contrary, his ideas are existential within souls which in turn disclose the paths of economical overcome, and then it turns to the fatal journey of being itself which derived from this regulation. How can it be regular? Its DNA is absolute in this form disorder. We can notice it in color, circumstance, energy, proportion, eruption and in some fancyworks in continuance, because the technique requires color carving, then spontaneously benefiting in nuance and form, he carves until he fulfills the idea of the artwork. We can notice the figuration of the pictorial association through frantic movements of the brush, in some areas they are generated with color lightness and thickness, controlled, then outlined, although from unconsciousness, or chastity, sobering toward equilibrium. The colors create contrastive interrelation, and sometimes harmony, in the meantime intensive yellow, orange and red generate warmness, heat and aesthetics. Despite of yellow color being a little bit sweet, clean, a pedantry of this creator can be noticed. The light is plenary and tonal scale of warm and cold colors show up, but as we look forward at the tableaus this aims to express the composition. Additionally, the forms which are spread from yellow, green, indigo are very lyrical, at the same time poetic, like in a love dream.

Ilir Muharremi
Art Critic

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