THE POETICS OF THE BODY
To feel swallowed and out of step... the mind becomes a lake, dark and deep, with no ripples to speak of...

"While philosophy could beautifully describe the shape and dimensions of our human cage, only art could rattle its bars"

IMG_6160
IMG_7131
IMG_7971
IMG_6712
IMG_7361_copy
IMG_6052
IMG_7359
IMG_7086
IMG_7944
IMG_7165
IMG_8209
IMG_6032
720ECB3E-B264-4729-9F7D-F830C34796BF
IMG_2390
IMG_3100 (1)
IMG_0089
IMG_0020 (1)
IMG_9209
IMG_8188
IMG_1679

The Poetics of the Body journeys 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 establish a firm connection between visual experimentation and philosophical understanding. The resulting body of work, borrowing lines from the work of some of Xheka's favorite contemporary writers, in particular Richard Sinken, Nina MacLaughlin, and Ocean Vuong, remains rooted in the desire to draw out emotions although it might be unfashionable to think about emotion in art given the irony and sensationalism people have come to associate with the contemporary art scene.

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. The source material for these collages is mainly reappropriations of Xheka's own work allowing for the employment of past patterns and marks to represent the fact that one can, and must, break from old beliefs and outdated mindset in order to deconstruct systems of the past in an effort to build a better future seeeped in bright colors. The fusing of the various fragments (typically in the form of shallow relief construction), pasted and layered together to create shading and multilayered structure, wants the viewers to feel as if they are not in front of a collage but rather walking through a poem, peeping under the layers, squnting in an effort to read the half hidden words, impatiently separating the colors from the text, reassessing the words as truths. 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" which have the viewers mirrored back to themselves poetically. Consequentially.

  • Visual Influences

Barbara Kruger - Kruger’s work uses catchy phrases laid over images to challenge ideas of power, identity, and sexuality. "I work with pictures and words because because they have the ability to determine who we are and who we aren’t."

Raquel Van Haver - "... a big part of the work is about technique. It’s about figuring out how to manipulate your materials in such a way that it can get really thick and layered and contain the colours...”

Amanda McCavour - McCavour makes large-scale embroided installations using her sewing machine and water soluble fabric.