Genti Korini‘s paintings are both architectural translations and polychromatic abstractions. Korini looks to the vernacular architecture of his city, Tirana, Albania, to translate it into his paintings. Sometimes, those paintings are accurate illustrations of three-dimensional forms in space. But more often, those paintings are abstracted shapes disinterested in space and perspective. It is this back-and-forth between two- and three-dimensional renderings that make Korini’s work so interesting. His body of work demonstrates an artist experimenting, exploring, and questioning the translation of the three-dimensional world onto the two-dimensional canvas. And to throw another wrench into his examinations, he titles several of his works, “From Screen to Canvas.” In so doing, Korini doesn’t just reveal his interest in the physical transformed into its representation, but also the translation that happens between technology and its artistic representation.
Ledia Kostandini keeps finding new ways to erode boundaries. For instance, in When I Look Into the Mirror, Kostandini employs a square mirror to bring into the photographic frame what is outside of the frame. One solitary figure holds up a mirror with a reflection of a block of buildings; another mirror reflects a lone cloud in a blue sky. She most certainly erodes the boundaries between inside and outside in both Hangout and Blockwork. Hangout brings her artwork outdoors by pasting colorful life-size figures onto the facade of an apartment building. The 2D figures dangle from window frames or tiptoe across electrical lines. Blockwork brings the outside into the gallery by pasting photographic reproductions of concrete structures onto the white gallery walls.