Year 1994
The winning of the competition and the entrance to the Artistic High School “Onufri” Elbasan marks the beginning of an important artistic chapter for me, giving me the opportunity to explore and further develop my creative vision. As a starting point, this period can be described as a phase where art becomes a guide for understanding not only the external world but also the philosophical depths of oneself.
Philosophically, this phase can be described as an exploration of the basic principles of existence and harmony.
Year 1995
As I immersed myself in painting, I began to think about the connection between the creator and the creation, about the invisible that appears through colors and forms. Additionally, early artistic lessons may have shed light on the notion of beauty and the tension between reality and the ideal.
Many questions started to arise: What does it mean to create? What role does the artist play in society? Is art a personal act, or a responsibility to humanity? These questions are often essential in shaping a personal philosophy that guides every artist.
Year 1996
A year spent under the guidance of Professor Arben Jano was the one that, with knowledge, laid strong foundations for art, not only in me but in the entire painting class—a synthesis of mastery and passion for the art of painting, where each day represented a deeper step towards understanding beauty and form. He, with unwavering dedication, guided us through the labyrinths of techniques and deep knowledge, creating an inseparable connection between the mind and the hand, between ideas and materials. His precise leadership, always open to discussion, offered the opportunity to express not only technical skills but also the creative spirit that every artist carries within themselves.
This past year was a period of reflection and critical thinking, a time when every stroke of the brush turned into a philosophy of painting, where form and color were more than just technical elements—they were tools to express the deepest ideas and emotions. Professor Arben Jano’s work was a guide to art that goes beyond the surface, introducing us to the inner world of creativity, which requires not only technique but also the mind and soul of the artist. He taught us that every painting is a philosophy built with the time and effort of the artist, a story that tells more than what is seen at first glance.
Through every line placed, every color used, every composition created, we became more aware of our skills and the potential to go beyond the visible boundaries. After such a year, art was no longer just an act, but a perpetual journey of knowledge and spirit, which will continue to guide us even after the completion of this period, thanks to the guidance of Professor Arben Jano.
Year 1997
For me it has been a unique and deeply special moment in my artistic journey. Taking part in the creation of the works for the Church St. Peter’s Albanian Greek Catholic Church Elbasan, realized in the years 1994–1998, was not only a professional experience, but also a spiritual and intellectual journey. Chosen by our professors Arben Jano and Mark Marku, I and Xhuljan Tola faced a challenge that required not only artistic talent, but also the ability to absorb and interpret a complicated medieval technique. The decorative paintings and frescoes, which carry a deep symbolism and a special aesthetic, offered us an opportunity to explore art from a historical, cultural, and technical perspective. The fact that this experience happened while we were still in the High School shows our dedication and the ability to balance academic responsibilities with such a demanding project. For an entire year, this project became a center of gravity, where we could explore the role of the artist as a creator and interpreter of history. Besides the development of our technical skills, this process must have influenced also the way how we perceived art – as an act of intertwining between aesthetics, spirituality, and heritage.
Year 1998
As the final year in the Artistic High School “Onufri”, it has been an intensive and very transformative period for me. This year, characterized by the exchange of ideas with classmates and under the guidance of professor Sadik Kasa, has strengthened my artistic and philosophical foundations. The exploration of different techniques of painting and graphics helped in expanding my creative horizon, pushing me to go beyond the limits of what the traditional painting could offer. The feeling that painting sometimes was not enough to express all ideas and emotions shows a continuous search for deeper and more sophisticated forms of expression.
Year 1998
It was a very important year after finishing the Artistic High School “Onufri”, and I was eagerly waiting to be part of the competition to be accepted into the Academy of Fine Arts of Tirana.
In a competition with 304 participants, I managed to win and rank 13th on the list of winners, becoming part of this faculty that is very important for me, and which is the only one of its kind in Albania.
The first year at the Academy was very interesting, because among its lecturers was one of the most well-known Albanian artists, Gazmend Leka, who was part of my teaching. The Academy of Arts was a large center where every student could explore and challenge themselves in ateliers, laboratories, lecture halls, and exhibition spaces (FAB Gallery). We are truly grateful for our dedicated professors Gazmend Leka, Ilia Xhokaxhi, Artan Peqini, and Gezim Qendro for the guidance and support they gave us.
Year 1999
In the year 1999, I joined the monumental painting atelier, composed of the lecturers Fatmir Miziri and Jorgji Gjikopulli. As such, the ateliers are proposed as a creative community, where students develop their skills and exchange experiences with one another.
This period of exploration was an opportunity to merge different disciplines and to understand more deeply the connection between visual art and performance art.
Through a philosophical prism, this kind of collaboration and exchange of ideas can be a reflection of the distribution and interaction of knowledge in a society, where every artistic discipline contributes to the formation of a broad understanding of aesthetics and of human nature.
The desire to experiment during this time also pushed me to follow part-time art lectures in the Department of “Scenography-Costume Design-Choreography.”
Composed of distinguished professors such as Orion Shima, Erald Bakalli, and Ilir Martini, gratitude for the professors of Scenic Art, for the guidance and support given during this period.
Year 2000
In this academic year, the manifestation of visual art during this period represented in me a deep intertwining between practical techniques and philosophical-social reflections.
The creative process served not only as a means to explore aesthetics and forms. This year in the atelier was also like a mirror of social reality and individual existence.
The encounter with the techniques of mosaic and stained glass, besides requiring technical dedication, also carried a deeper symbolism.
They represented the fragmentation of life and the effort to recreate a harmonious whole through art.
Another challenge was the confrontation with material and intellectual difficulties during this process, a challenge that opened new horizons in me.
The creation and facing of these techniques prompted deep questions about the role of the artist as a creator and as a reflector of his time.
In this context, the manifestation of visual art became a complicated act that involved not only physical production, but also the communication of universal ideas and feelings.
My position that year through experience challenged the boundaries of perception and offered a bridge between cultural heritage and contemporary transformations.
In the philosophical aspect, these techniques were a metaphor of the human effort to find order and meaning in a world full of complexities.
Meanwhile, from the social point of view, they carried the potential to connect people through a universal language of beauty and symbolism.
In this way, my creativity became not only a personal experience of artistic growth, but also a contribution to a wider and cultural dialogue.
The desire to explore more, in contrast to the difficulties in finding historical books in the Academy’s library, pushed me to look for them also in other faculties — the German one, the Italian one, and the English one.
Year 2001
During the third year of studies at the Academy of Arts, one of the most important events for my artistic journey was also the selection to represent Albania at the Balkan Youth Festival for Visual Arts, held in Greece.
This festival was a very rich platform for contemporary art, where I and another colleague from the Academy had the privilege to contribute to the presentation of Albanian culture and art in an international environment.
Participation in this event gave me the opportunity to experience a deep interaction with young artists from different cultures and traditions of the region.
Through open dialogue and exchange of ideas, the festival represented more than just a simple exhibition — an arena for reflection on the relationship between art and cultural identity, as well as for exploring the philosophy of art in a multidimensional context.
The atmosphere of the festival encouraged a sense of unity through diversity, where visual arts served as a universal language to share human experiences and build bridges of communication between different communities.
The discussions about techniques, concepts, and creative approaches became important impulses for my artistic and intellectual development.
It was a reminder of the power of art to challenge boundaries and to create new spaces for intercultural interaction.
For me, this festival was a reflection on the way contemporary art intertwines tradition with modernity, showing the tensions and harmonies that exist within it.
It helped me to understand more deeply the role of the artist as a creator, interpreter, and communicator of ideas that transcend the individual and speak of universal experiences.
This experience left a deep mark on my artistic vision and gave me confidence to continue exploring new dimensions in art.
Year 2002
During the four years of studies at the Academy of Arts, an important culmination in my academic and creative journey was also the preparation of the diploma, a project that required a deeper reflection on philosophical, social, and spiritual concepts in art.
It represented an important moment, where every effort until now had to be materialized into a complete artistic act.
My work titled “LIFE”, an installation with mixed techniques, was selected by the university jury as one of the best works and was included in the archive corpus of the Academy of Arts, an honor and pride for me for the committed dedication.
This installation aimed to express the spiritual connection of man with space, communication, and the energy of the infinite universe, a concept that required a deeper, multidimensional treatment, where time, space, and its content were closely connected with the social and spiritual state of my country.
On a philosophical and symbolic level, this installation expresses the idea that time, space, and energy are not merely abstract concepts, but are experienced and codified in every part of our reality.
Time was treated as a passage of the spiritual and social state of my country, presenting it through light and shadow, symbolizing the different ways in which the individual and society feel oppressed and constrained in a given space.
The stars, as a celestial body that possesses heat and light, explode expressively on a painted skin in the middle of the installation.
They are a symbol of the spiritual force that helps illuminate the spiritual condition of our society.
This installation reflects a psychological experience of the human being in the attempt to overcome and transform his reality.
The stars that explode in different forms are descriptions of the burst of energy and strength within individuals, showing that, although burdened, spirituality and energy are always present and ready to illuminate the darkest spaces.
The way this energy burst is distributed in the form of graphics and painting shows a moment of convergence between the spiritual force of the individual and the world around him, reflecting the impact of inner realities on the perception and interaction with the outer reality.
On an aesthetic level, the installation created a space where every line, every thread created, and every exploded form is an image intertwined between nature and the spiritual, between the past and what may happen.
The cube placed in the air and the lines connected between the spaces are representations of possibilities and paths of salvation through spiritual energy and strength.
This act is a window to pass into another reality, to overcome the boundaries and the unexpected that may appear on our planet, representing the possibility of creating new connections, without fears and without obstacles, toward a new path for the perception of reality.
Year 2003
This year represents an important period in the transition from academic life to professional life, where I decided to fully dedicate myself to the field of graphics and editing, following a journey that connected creativity with the need for a deep expression of ideas and emotions. This transition, filled with new decisions and commitments, was a continuous process of self-learning and the development of a professional identity that included technical skills.
With my engagement at BBF television, the experience of creating spots for record labels in Albania served as a first step in this professional journey. This field required a complete synthesis between visuality and the delivered message, a challenge that demanded deep focus and effort to capture the essence of each project’s identity.
Graphics was not merely a decorative tool, but a way to express ideas and feelings through images, to interact with viewers’ perceptions, and to provoke an emotional response that could trigger change, feelings, or reflection.
This engagement was also accompanied by a period of study and effort in the field of editing. The ongoing pursuit of deepening in this field was not only an opportunity to acquire new techniques, but an internal process to better understand the mechanisms underlying the connection between image and time, between the various elements that compose a creation.
Editing can be seen as a form of art that reflects the complexity of the human mind and spirit, allowing the creation of a narrative not only through the interconnection of images, but also through the emotions they evoke.
This process required not only technical skills but also a deeper psychological involvement. Through editing and graphics, I began to explore more deeply the feelings and thoughts that had been shaped during the years of study and personal development.
It was a period of deep reflection, where each project and challenge was an opportunity to discover more about myself and to create art that fulfilled a need for both internal and external communication.
Engaging in such projects required a delicate balance between valuing creative processes and the ability to cope with the pressure of professional demands, which often came with a high level of responsibility and expectations.
The development process in the field of graphics and editing was not only an effort to adapt to market demands, but an opportunity to bring forth and express a new professional and personal identity, which required a constant balance between the outer and the inner self.
