Interview with the Artist Vera Ivanaj (Dokaj)
Interview
with the Artist Vera Ivanaj (Dokaj)
A. Kosta: Greetings,
Vera. Welcome among the readers and art lovers of Albania. We are all curious
to know you better: where and when did your encounter with art take place?
To recount the story of my meeting with art, I would divide this adventure
into three key moments and places that have marked my life and creativity.
The first moment belongs to the first 25 years of my life in Albania, a
period I would describe as the time of developing my sensitivity to art and my
aesthetic awakening. I was born in 1967 in a small village in the Malësia e
Madhe region, in Katundi i Kastratit, where I lived until I was six years old.
I began my elementary education in Bratosh, a place that has left an indelible
mark on my memory. There, I had the fortune of meeting the great Albanian
artist Ismail Lulani, who was then a teacher at the school. He chose me as a
model for a portrait. This experience left a deep imprint on my subconscious. I
can still recall that painting as if it was yesterday, and the moments when I
stepped out of class to pose are etched in my memory. At the time, I didn’t
fully understand the significance of what he was doing, but I knew it was
something important.
In my family, music also played a special role. My father played the flute
and the lahuta. At school, drawing and music classes were my favorite moments.
I drew, sang, and eagerly participated in artistic performances organized by
the school. These activities helped me channel my sensitivity and, at the same
time, dream. My childhood dream was to become a pianist, a desire that remained
unfulfilled due to financial constraints.
However, the social realities of my country often restrained my
aspirations. Even though I was an excellent student, I was not able to choose
my own studies. I wanted to study physics, fascinated by the universe, but I
had to follow an imposed path: an agricultural high school and then a degree in
economics at the Agricultural Institute of Tirana. This disappointment fueled an
inner strength that, years later, helped me return to art.
The second moment begins with my emigration to France in 1991, a period I
would call a silent transformation. It was a total rupture, a shock in every
aspect: cultural, economic, social, and emotional. This transition confronted
me with the unknown, pushing me to rebuild myself through doubts but also
through a search for freedom and meaning. Between 1993 and 2001, I pursued
higher education in economics and management, obtaining a master’s and a doctorate
that allowed me to become a university professor and researcher. During these
years, art remained in the background, experienced through the musical studies
of my two sons at the conservatory.
The third moment, which I call the period of creative impulse, began in
2009. At that time, I was experiencing deep dissatisfaction in my academic
career. I felt trapped in a rational framework, detached from sensitivity and
the emotional world. During a stay in the United States as a visiting professor
at Georgia Tech, I felt a kind of awakening, telling myself: “You are
creative by nature, but you are doing nothing valuable with this creativity.”
This realization, mixed with anger and guilt, pushed me to draw for the first
time, instinctively. Very quickly, these drawings turned into an outpouring of
creative energy that could no longer be stopped.
In 2009, the opening of the Pompidou Museum in Metz marked a major turning
point. During a private visit to the inaugural exhibition, the works of
Picasso, Kandinsky, Miró, and Soulages shook me. Observing their creations, I
felt a profound inner revelation: “This is what I want to do with my life:
draw, paint, and write.” This experience gave me the courage I needed. Upon
returning to France, I joined the free painting workshops of artist Violette
Costet, whose guidance allowed me to fully explore my creativity.
A. Kosta: Who is your artistic
idol?
The artist who inspires me most profoundly is undoubtedly Pablo Picasso,
for many reasons. First and foremost, his courage and ability to break away
from the conventions of traditional art schools astonish me. He managed to
impose a personal and innovative vision through movements such as Cubism,
redefining the very contours of artistic creation. To me, he embodies the
essence of an artist: a pioneer, a creator of worlds, capable of liberating
himself from institutional frameworks that often stifle recognition and
artistic expression.
In my eyes, Picasso succeeded in freeing himself from these restrictive
molds to assert a bold vision, one that challenged dominant mindsets and
institutional expectations. His body of work, with its striking diversity,
testifies to a relentless quest for meaning. Painting, sculpture, drawing—he
explored a multitude of mediums, always seeking to push the boundaries of the
imaginable. This approach demands immense courage and unwavering perseverance,
as it confronts the artist with rejection, misunderstanding, and the pressures
of conformity.
What fascinates me about Picasso is his ability to delve into the depths of
reality and extract an essence that he transcends and transforms into something
greater, something universal. His works compel us to question what art truly is
and to reflect on its role—not only for the artist but also for the community.
They reveal a unique form of knowledge, one that captures and conveys the very
essence of what moves us in our shared humanity, here and everywhere. Through
his boundless creativity, Picasso opens doors to a broader understanding of the
world and of ourselves—an inexhaustible source of inspiration for any artist in
search of meaning.
A. Kosta: What do you think of
contemporary artists?
To me, contemporary artists are a reflection of the crises that permeate
our era—crises of identity, meaning, values, and beliefs. We live in a world
where past political, economic, social, and cultural models no longer function.
It is a period of radical uncertainty, where everything seems to need
rebuilding. In this context, artists have a fundamental role: to dream, to
imagine, and to construct the world of tomorrow. But to achieve this, they must
free themselves from the paradigms of the past, which, in my opinion, are
already obsolete.
Today, the art world pushes creators to reflect on the value of art, of
artworks, and of their own role. Artists find themselves caught between
paradoxical injunctions: on the one hand, success seems to be measured by
commercial value, turning their art into a venture that generates financial
worth. On the other hand, rampant speculation in the market places a pressure
that often stifles creative initiative. This dual tension can cause deep
suffering, inner fractures, and an exaggerated competition that often leads to
extremes.
The criteria of what constitutes art or beauty have also evolved. Too
often, artists, in their revolt against traditional forms, reject what is at
the very core of their being: an intimate, profound, and sincere understanding
of the world, which enables them to restore meaning to our place in the
universe and to our shared humanity.
I see a shift toward increasingly dehumanized forms of expression, detached
from that inner creative force that is essential. Art, in its essence, must be
an act of survival in the face of the world's hardships and a way to build a
collective future. We need art that unites, that rehumanizes, and that helps
us, as humans, co-create a world that is fairer, more beautiful, and more
livable. This, I believe, is the challenge and responsibility of today’s
artists.
A. Kosta: What do you think
about the use of artificial intelligence in art?
To me, artificial intelligence represents both a promise of hope and a
stimulating challenge for art and artists alike. Its emergence in our world is
the fruit of a universal quest: humanity’s continuous effort to better
understand and master its relationship with the fundamental laws governing
earthly reality. AI embodies a fascinating advancement, a tool at the service
of humankind, allowing us to transcend our cognitive, physical, and emotional
limitations.
For artists, AI opens new horizons of exploration and experimentation. It
enables the creation of routines and creative tools that ease technical
processes while offering the possibility of venturing into novel aesthetic
experiences, often detached from the tangible, physical world. AI thus becomes
both a fully-fledged artistic medium and a source of inspiration, an object and
a subject of creation.
I strongly believe in the use of AI in art—not as a substitute for human
creativity, but as an ally capable of amplifying our artistic potential and
broadening our perception of sensibility. Of course, artificial intelligence
also brings forth ethical and aesthetic challenges. It compels us to engage in
a critical reflection on its possible impacts, both positive and negative, on
art and artists.
Nevertheless, I am convinced that artists will learn to harness AI wisely,
leveraging its potential to push the boundaries of imagination while preserving
the authenticity of their creative approach. AI, with its ability to reshape
our perceptions, has the power to become a driving force for art, allowing us
to explore dimensions of existence that have yet to be imagined.
A. Kosta: Can you tell us more
about your achievements and how you discovered your passion for art?
Before speaking of passion, I would say that art imposed itself upon me as
a vital necessity—a way to confront life’s hardships, but also a means of
transcending myself in a continuous pursuit of personal and professional
growth. For forty years, I built my life around a deeply Cartesian vision,
where analysis, deduction, and logic prevailed, relegating emotions and
sensitivity to the background. These models, dominant in both science and
culture, shaped my entire career as an educator and researcher. Yet, over time,
I felt a profound imbalance. I had confined myself to a strictly rational
approach, ignoring an essential part of my being: my emotional intelligence.
At the age of forty, reflecting on my journey, a powerful question emerged:
“What have I done with my life? What meaning does my work hold—for myself
and for others?” The more I lectured and conducted research, the more
incomplete and, at times, meaningless it all seemed. By filtering everything
through a mental prism, I had forgotten to listen to my heart, which had so
much to say about my future and my true essence. This realization led to an
inner rebellion, fueled by a silent dream: a world with more love among people,
more inner peace, and harmony.
I understood that I needed to free myself from my emotional traumas to
become a whole being. My beginnings were humble: I initially sought refuge in
poetry. But that was not enough—I felt a deep urge to create with my hands as
well. Drawing and painting naturally drew me in, becoming both a sanctuary and
a liberation. The moment I picked up a pencil, the creativity that had been
suppressed for years erupted like a powerful spring. This vital force, long
repressed, had finally found its path to expression, and nothing could stop it.
One artwork led to another, followed by my first exhibition. Very quickly,
I felt the need to understand what I was doing, to give meaning to this sensory
experience. How could art transform not only my own existence but also that of
others, and perhaps even society as a whole? This artistic practice fueled my
curiosity as a researcher and led me to fundamental discoveries about the
contribution of art and artists. My personal and collective experiments with
art and aesthetic practices have allowed me to publish several academic
articles at an international level. Today, my artistic approach remains an
endless quest, a journey that is both intimate and universal—where each
creation serves as an open door to new possibilities for transformation and
personal development.
A. Kosta: What challenges have
you faced in your artistic career?
The greatest challenge in the beginning was confronting myself—my doubts
and the limiting beliefs shaped by my formal education as well as the political
and ideological regime of my country. Was I truly meant to create art? Did my
work have meaning? Who needed what I was doing? These questions haunted me in
my early artistic journey. But the hardest part was finding the courage to
follow my passion and transform it into a profession.
To be an artist is to face both oneself and the world. It is a journey
where one often feels alone, as art exposes you in ways that can be profoundly
challenging. Moreover, in today’s world, an artist must also be an
entrepreneur—finding ways to survive through their art without compromising
creative integrity. For me, balancing my role as an artist with my academic
responsibilities was a challenge in itself.
And yet, many believe that creating art is easy, that it is nothing but
pleasure. The reality is quite different. The transition from a personal
passion to a professional practice is a path filled with obstacles. Today, an
artist must also be a businessperson, capable of making a living from their
art. This paradox between “creating to sell” and “selling to create”
is a constant challenge.
In my case, this balance was even harder to achieve, as I had to manage both
my academic career and my artistic practice simultaneously. This dual
commitment required flawless organization. However, despite the difficulties,
the coexistence of these two passions taught me to navigate their demands while
preserving the creative fire that continues to guide me every day. Even now,
each step forward is a victory, a testament to the fact that art is much more
than a profession—it is a way of living.
A. Kosta: What message would
you like to share with young artists?
To young artists, I would say first and foremost: listen to your inner
voice, follow your heart. Believe in what you do, and in moments of doubt,
commit yourself to daily exploration through research and experimentation. It
is through this discipline, through this continuous practice, that you will
discover who you are as an artist and shape your creative identity.
Through art, we learn not only what art is, but also what beauty is and,
ultimately, what life itself is. Beauty, so precious and fragile, must be
uncovered without fear, defended, and upheld with strength so that it may
triumph over the world’s challenges. But to be an artist also means learning to
navigate all the dimensions of this status. This includes understanding the
power dynamics within artistic institutions while also accepting the public’s
gaze and reactions to your work, whether they are praise or critique.
Art invites us to question ourselves, to challenge our perceptions and
those of the world. It urges us to reflect on what is good, what is beautiful,
and what is just for humanity. Therefore, do not be afraid—neither of yourself
nor of others. I am convinced that through artistic practice, each person can
discover the best version of themselves and contribute to the creation of a
better world, where life on earth finds a deeper and more beautiful harmony.
A. Kosta: Has your fascination
with the earth, nature, and color influenced your artistic style? In what way?
The earth, nature, and colors have given me the opportunity to reflect on
the essence of life—on the energy and movement that permeate everything.
Through their presence, I can imagine the past, the present, and the future.
These elements are, for me, both a source of inspiration and the very
foundation of creativity.
To me, the earth is far more than a tangible and visible material; it is
the vital source, the foundation upon which our existence rests. In my work, I
have often engaged with this material to explore its dynamism—to reveal how it
is born, how it lives, and how it transforms before our very eyes. In my series
“Here and Elsewhere”, for example, I explore the intimate connection
between human beings, material, and the earth—this space that shelters and
nourishes us.
Nature, on the other hand, transcends the concept of earth. It leads me
into a mesmerizing universe, without beginning or end, where what is natural
becomes, in itself, essential. In my artistic practice, I do not question
nature—it presents itself to me as an undeniable truth, just as life is a given
for all of us. But nature invites us to go beyond it, to merge with it, to
become one with it.
In nature, I find symbols, values, and universal laws that guide my
creativity. It is through nature that I become acutely aware of being alive, of
the fact that life itself is energy—a perpetual act of creation. These
sensations are difficult to articulate in words, yet they inhabit every moment
of my artistic practice.
My creativity flourishes through nature, and through my art, I seek to pay
homage to it. I want to give back to nature what it offers me every day—the
wonderment in the face of its beauty and the profound mystery of the life it
nurtures and inspires.
A. Kosta: You have held
significant positions, such as Head of the Department of Humanities and
Managerial Sciences at ENSIC (National School of Chemical Industries) in Nancy,
France, and as a faculty member at the Institute of Business Administration at
the University of Metz. Have these experiences influenced your artistic
development?
My numerous academic responsibilities have profoundly nurtured my
reflections on the transformative power of art and the sense of responsibility
we bear as artists toward others. These experiences have taught me what it
means to lead—to have a vision, to design a strategy, to manage individuals,
and to support their personal growth. These dimensions, often associated with
management, resonate deeply with the artistic sphere, challenging our role as
artists and our ability to influence others, for better or for worse.
They invite us to reflect on our human values and the responsibility that
arises when our work becomes a source of light, an inspiration to those around
us. To hold a leadership position—whether in the academic world or in the
artistic domain—is, in itself, a rich and complex aesthetic experience. These
responsibilities have allowed me to connect with individuals from diverse
backgrounds, to foster synergies with partners from corporations and
institutions, and to deepen my understanding of human dynamics.
The management of human relationships, which is at the heart of my
managerial concerns, also influences my artistic practice. To lead means to
constantly balance emotions, thoughts, and actions—three essential elements
that is equally reflected in my creative process. This inner journey, where I
question what I feel, what I do with my thoughts, and how I respond to
emotions, is a direct reflection of the complexity of artistic work.
Creation, much like management, is a challenge in the face of complexity.
It requires finding innovative solutions in a world that often leans toward
homogeneity, uniformity, and the status quo. Yet, it is precisely within this
challenge that true richness lies—the opportunity to explore new paths, to
break predefined boundaries, and to bring forth a spirit of transformation,
both for oneself and for the world.
A. Kosta:
Can you tell us about your role as a researcher at CEREFIGE (EA 3942,
University of Lorraine) and as co-chair of the International Conference on
“Multinational Enterprises and Sustainable Development” (MESD)?
I conduct my research
at CEREFIGE, a leading research center in management sciences that brings
together approximately 300 scholars. As the head of the Organization and
Human Resources research team, which consists of around 70 researchers, my
focus is on strategic management, exploring fundamental questions such as: “How
are strategies formulated within organizations? What are their levers and
impacts?”
My research is
structured around five main areas:
- Strategy
in crisis contexts, analyzing decision-making processes and their
consequences;
- Strategic
change, deciphering organizational transformations and
their implementation;
- Organizational
coordination, studying challenges
in complex environments such as the healthcare sector;
- Organizational
aesthetics, linking art and
strategy through methodologies inspired by my own artistic practices;
- Strategy
and sustainable development,
examining its economic, social, and environmental impacts.
These research
endeavors, published in internationally renowned journals and books such as Elgar
Publishing, Journal of Cleaner Production, and International
Journal of Technology Management, aim to provide interdisciplinary
insights to support organizations in addressing strategic and innovative
challenges.
Since 2006, I have
co-chaired and organized, in collaboration with Professors Silvester Ivanaj (ICN
Business School)and John McIntyre (Georgia Institute of Technology), six editions of the international
conference Multinational Enterprises and Sustainable Development (MESD).
This academic event, held in partnership with prestigious institutions such as
Georgia Institute of Technology, the University of Delhi, and ISCTE-IUL, has
gathered around 1,500 participants and showcased 500 research papers.
In 2013, we founded
the scientific association Multinational Enterprises and Sustainable
Development (MESD), where I currently serve as vice president. This
international, non-profit association is dedicated to studying and promoting
corporate strategies for sustainable development. As a true platform for
exchange among researchers, experts, companies, and policymakers, it aims to
generate and disseminate scientific knowledge and best practices, fostering
collective reflection on the strategic challenges of sustainable development on
a global scale.
A. Kosta:
What can you tell us about your close collaboration with distinguished
scholars, including the renowned Professors John McIntyre and Paul Shrivastava?
My initial
collaborations with Professor John R. McIntyre date back to 2004, when he
invited me to conduct two extended academic residencies (four and six months)
in the United States as a visiting researcher at Georgia Institute of
Technology. A distinguished figure in the field of management
and international business, John McIntyre is a professor at Scheller College of Business
and the Sam
Nunn School of International Affairs. Since 1993, he has also
served as the Executive Director of the Georgia Tech Center for International Business
Education & Research (CIBER), a prestigious center promoting education and research on
international business challenges.
Our collaboration
laid the foundations for the international conference Multinational
Enterprises and Sustainable Development (MESD) as well as the scientific
association of the same name, leading to numerous international publications in
this field.
In 2009, I had the
honor of meeting Professor Paul Shrivastava, a globally recognized scholar
with a visionary approach to management and sustainable development, whose
influence deeply shaped my professional trajectory. Currently Co-President of the Club
of Rome, he
previously served as the Chief Sustainability OfficeratPennsylvania State
University and as the Executive Director of Future Earth, the world’s largest interdisciplinary
research program on global environmental change.
Together, we played a
pivotal role in the creation of the UNESCO Chair for Arts and Sustainable
Enterprise at ICN Business School in Nancy—a project that embodies a
unique intersection of art, management, and sustainability. Our collaboration
did not stop there. It was further enriched through research and international
publications exploring the role of art and aesthetics in organizations and
management.
These joint studies
have highlighted the impact of artistic practices on innovation, organizational
change, and sustainable development, reinforcing the relevance of these approaches within contemporary
managerial thought.
A. Kosta: In
2019, you were awarded the Habilitation à Diriger des Recherches (HDR) by the University of
Saint-Étienne—an exceptionally significant achievement. Did you encounter any
difficulties in attaining this milestone?
The Habilitation
à Diriger des Recherches (HDR) represents the pinnacle of academic
recognition in France, a prestigious qualification obtained after a doctorate.
This distinction not only attests to a researcher’s ability to conduct
independent research but also to mentor doctoral candidates. Based on a
rigorous scientific dossier, the HDR highlights the coherence, impact, and
contribution of the candidate’s work to the advancement of knowledge in their
field. Moreover, it is a necessary step toward attaining full professorship at
the university level.
Preparing for this
qualification, though immensely rewarding, was a true challenge. I had to
balance my daily responsibilities as a professor-researcher with my artistic
practice—two demanding commitments that require intense dedication. However,
this experience was profoundly enriching. It gave me the opportunity to review
my entire body of research, assess its impact in the field, and set ambitious
objectives, both for myself and for my doctoral students.
Today, I have the
privilege of supervising four doctoral candidates. This role carries a dual
responsibility: guiding these young researchers toward the completion of their
dissertations while also contributing to shaping their professional futures. It
is a formidable challenge, as their academic success and future trajectory
largely depend on the support and mentorship they receive. Through this
experience, I feel not only the pride of transmitting knowledge but also a deep
commitment to investing in the next generation of academics.
A. Kosta: In
June 2016, you won the prestigious award for the most original painting at the Salon International de
Peinture in Lorraine, competing against 250 French and international artists.
What does this recognition mean to you?
Receiving this award
was much more than an honor—it was an acknowledgment from the art world of the
quality of my work and the aesthetic value of my creations. The realization
that I was perceived as a distinctive artistic voice, capable of contributing
to the preservation and evolution of beauty in art, deeply moved me. Knowing
that what I create is unique and that my work resonates with others gives
profound meaning to my artistic approach.
When I first began
painting, it was with a passionate, almost instinctive desire to bring
something to art—to offer a personal vision that would transcend my own experience.
This award confirmed that aspiration, not only by legitimizing my work but also
by providing me with a powerful impetus to continue my creative journey.
It is not merely
about receiving a trophy or a title; it is an encouragement to push further, to
explore new dimensions in my practice, to surpass my own limits while remaining
true to this quest for meaning and beauty that has always inspired me. This
award is also a reminder of the importance of perseverance and dedication in an
artistic pursuit, for it is through unwavering commitment that we can continue
to enrich the world of art and inspire others to embrace their own creativity.
A. Kosta:
Let us pause for a moment on the idea of art as a tool for peace and fraternity
among peoples. This seems to be a recurring theme and motivation in your work.
How do you convey these values through your art?
Art, in its purest
form, is a universal language—a bridge, invisible yet powerful, that connects
hearts and minds beyond borders, cultures, and differences. In a world marked
by tensions, divisions, and an ongoing search for meaning, I firmly believe
that art holds a unique ability to awaken in each of us what is most human:
empathy, understanding, and the hope for a better world.
My works seek to
embody these values by revealing the complexity and richness of human
experience. Through my creations, I strive to convey a vision of the world in
which contrasts, dualities, and even contradictions find a harmonious balance.
Light and shadow, strength and fragility, reason and emotion—these are
recurring themes in my work because they reflect the diversity of our
existences and identities. By exploring them, I aim to remind us that what
unites us runs deeper than what separates us.
Art also has the
power to transcend cultural barriers and to reveal the universal values that
bind us all: respect for nature, the pursuit of beauty, and the aspiration for
a life in harmony with others and with ourselves. Through my exhibitions, I
seek to create spaces where visitors—whether familiar or unfamiliar with my
culture—can recognize themselves, be moved, and engage in a dialogue, both with
the works and with one another.
For me, art is a
perpetual invitation to reconciliation. A painting or a drawing does not
recognize race, nationality, or language—it speaks directly to the soul. By
placing fraternity and peace at the heart of my artistic approach, I strive to
offer viewers a moment of reflection and serenity, an openness toward others,
and a path toward mutual recognition. I firmly believe that through beauty and
creativity, we can cultivate a future in which peoples do not merely coexist
but come together in a shared celebration of their common humanity.
A. Kosta:
You have participated in numerous solo and group exhibitions at both national
and international levels. Is there a particular exhibition experience that left
a deep impression on you or that you consider a pivotal turning point in your
career?
The exhibition that
left the deepest mark on me was the one I held in Vienna in 2017, alongside
five other internationally renowned artists. This event was organized by the
Austrian-Kosovar art critic and historian, Dr. Penesta Dika, whose role
was instrumental in shaping my artistic journey. With her sharp critical
insight and extraordinary ability to guide me, she infused my artistic practice
with new momentum, encouraging me to push the boundaries of creativity and
explore new dimensions in art.
Dr. Penesta Dika,
who teaches academic publishing practices, the history of media art, and
artistic and scientific research methods at prestigious institutions such as
the University
of the Arts in Linz and the University of Applied Sciences in St. Pölten
(Austria), as well
as UBT in
Pristina (Kosovo),
has managed to intertwine her academic expertise with a bold curatorial vision.
Thanks to her guidance and expertise, this exhibition became a turning point in
my artistic career.
A. Kosta:
Your paintings are featured in Modern Art Galleries in France and
internationally. How does it feel to know that your work is valued and
recognized in such prestigious contexts?
It is both a profound
joy and a motivation to continue my artistic journey. Every success reminds me
that art is a continuous evolution, a path where one never stops learning and
surpassing oneself. It is also a lesson in humility, an invitation to remain
deeply respectful of the work of other artists, gallery owners, and art critics
who contribute to enriching the artistic world.
However, these achievements
also come with a continuous challenge: that of maintaining high standards and
authenticity in my creations. If one relies solely on past successes, the
audience—who always seeks sincere emotions and quality—can quickly lose
interest. For me, these successes represent a responsibility: to continue
conveying universal messages, to awaken consciousness, and to create with the
same passion that has driven me since the beginning, while keeping my feet
firmly on the ground and my heart open.
A. Kosta: In
your art, you use lines, strokes, and symbols to convey a vision of a
sustainable, energetic, and interconnected world. Can you describe the creative
process behind these unique works?
My creative energy is
a personal quest for the essence of humanity. In my artistic practice, I embark
on a journey into the depths of the human experience. Each work is an
exploration of one’s inner world, of their hidden garden, of the winding paths
of their life. I immerse myself in the natural and transcendental complexity of
being, navigating between what is born and what is created,
to uncover its hidden treasures and imagine the richness it can generate in the
future. My art is a search for balance between humanity and nature, a meeting
point between the many facets of existence that reveal themselves along the
journey of life—both here and elsewhere.
For this reason, my
creative work takes the form of series that address complex human themes such
as: Space & Time, Shadow & Light, Stage
& Backstage, Reason & Emotion, The Essential & The Universal,
Simplicity & Complexity, Strength & Fragility.
Through these works, I seek to reveal the beauty of contrasts, of polarities
that, when united, find harmony and reconnect us to a universal truth.
What I offer through
my work is a bridge between the invisible and the tangible, between chaos and
structure, between the untouchable spirit and the material world. For me,
everything begins with an encounter—a spring day where consciousness and the
unconscious merge into an eternal marriage of polarities. Always in motion, in
flux, in evolution, my works convey this energy of transformation. I invite the
viewer to feel this alchemy, to allow themselves to be drawn into this duality
that makes art a powerful act—one capable of shifting perceptions and, perhaps,
contributing to the construction of a better world.
A. Kosta:
What are your future projects?
My only project for
the future is to continue creating—unceasingly. Creativity, for me, is far more
than an activity; it is a vital necessity, the very essence of my life’s
mission. I do not follow rigid plans; rather, I prefer to let life take its
course and seize the opportunities that arise from encounters and daily
experiences. I have come to understand that trying to control the future is
futile. What truly matters is awakening as human beings, improving ourselves
every day, and striving to become the best version of ourselves—for ourselves
and for others.
More than anything, I
wish to continue showing the world how essential art is to our existence. Art
nourishes our inner peace, brings us closer to others, and enables us to live
in harmony with the world around us. Let the future take the shape it is meant
to—I will welcome it with trust and serenity.
A.
Kosta: Thank you very much!
Prepared
by Angela Kosta Executive Director of the Magazines: MIRIADE, NUANCES ON THE
PANORAMIC CANVAS, BRIDGES OF LITERATURE, journalist, poet, essayist, publisher,
literary critic, editor, translator, promoter
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