WHO'S COLLECTING ALL THE TEARS WE SHED? (REMAKE/R)
The kind of creativity that remains as indelible and insoluble as dreams
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Who's Collecting All the Tears We Shed? (Remake/r ), a multi-part analog collage series, begins with a kernel - a feeling turned into an image which, in turn, remains permanently frozen into a single moment of recognition. The resulting body of work remains as personal, indelible, and insoluble as dreams, which may be the very thing that makes these collages so strangely familiar and yet so hard to decipher.

Inspired by Hans Arp's and Joan Miro's adaptation of biomorphic forms, Wassily Kandinsky's joyful automatism, and Henry Matisse's approach to collage as a painting, these paper collages explore the potential for unique compositional relationships that result from the unfussy yet harmonious arrangement of organic forms and non-representational and figurative elements in order to expand on the concept of art that is both aesthetically pleasing and conceptually edgy by relying on the tension of the combined tactility and visuality.

Working on collage pieces is a journey into an imaginal space, pushing past the realm of experience to create a container, densely layered with metaphors, flush with archetypes and symbols, for the imaginative act to take place - the reshaping of a drab and colorless reality into a luminous world. Here is the artist operating in her own space and time, expressing herself to herself alone lost in creating a personal achieve by wrangling a pair of scissors as if she were an ancient warrior in search of a flow state waiting for something interesting to emerge from the pre-cut jumble of figurative elements and biomorphic shapes, flower petals and tear shaped paper droplets, bright yellow lemons and abstracted limbs, Renaissance women and modern jewels.

The work builds up slowly; it takes many sessions to get to the final image. The artist is not trying to get somewhere else but to know where she is. There is another depth achieved by moving slow, seeing close-up, lingering, living in detail. Individually cut and glued, each element, no matter how small (some pieces of paper are as small as one-tenth of an inch, cut into intricate shapes) serves as a brushstroke to achieve a balanced composition guided by color. Pasted and layered paper creates shading and structure typically in the form of shallow relief construction. Each mark, crease, bruise, and indentation is meticuluously chosen to impose - has Didion has it, perfectly, in The White Album - "a narrative line upon disparate images".

The source material for these collages is mainly reappropriations of Xheka's own work allowing for the employment of past patterns and marks mixed with various advertising materials that make it into her mailbox. Although the fragments are harvested from multiple sources, once the fragments fuse, they create a completely transformed entity generating uncanny resemblances that emphasize the lushness of life.
  • Visual Influences

Hans Peter Wilhelm Arp (Jean Arp) - his work is non-representational, yet firmly rooted in nature. His most abstract compositions suggest organic forms.

Twyla Tharp - is an American dancer, choreographer, and author. She combines different forms of movement such as jazz, ballet, boxing, and inventions of her own making.