Gallery Review: Sislej Xhafa’s “Assymetric Désir” at Blain Southern

The body of works seen in Sislej Xhafa’s “assymetric désir” is primarily that of conceptual art. The vast majority of his pieces are sculptural whilst one (“Woman with Red Skirt”) is painted. However, despite the slight variation of mediums they all seem to address the issue of our economic relationship with objects. Xhafa does this by “challenging our reality,” through works that does not require “shock” to impact the viewer.

Some of the works that I find most significant in his exhibition includes “Mother” and “Woman with Red Skirt.” In the painting “Woman with Red Skirt” the title’s very clear indication of the color is boldly absent in the painting itself. Instead, varying shades of grey and green are depicting the form of a Woman in a Red Skirt. In this piece Xhafa is exploring the idea of consumerist activity and expectation – showing that the title is not what one might expect.

In “Mother,” Xhafa attaches a telephone receiver to a black, blank, marble tombstone. This challenges our consumerist desires. Despite our advanced technology, no amount of money or will power will bring forth the ability for us to speak to communicate with the dead.

Xhafa’s works correlate to that of Yoko Ono’s, as they were both commentators of their generation’s political spheres. Simlarly to Ono, Xhafa also executes his work through conceptual art. However, Ono is more renowned for being performative. From a contemporary standpoint Xhafa’s work resembles that of Damien Hirst as a conceptual artist.

My thoughts on the work is that Xhafa proves himself to be quite an interesting commentator on the economic and political status of society, through the medium of conceptual art. I really appreciate how his works can be decrypted through visual connotations and not only through shock factor. As one walks through the mostly open space in the Blain Southern, the wide spaces invite viewers to take their time when appreciating the works. Unlike traditional forms of art, some of Xhafa’s pieces are presented as sculptures on the walls. So it retains both the properties of a painting whilst having the relief and space of a sculpture. This use of wall space frames Xhafa’s pieces as completed works of art with a “higher meaning” behind it.

Content that I would explore in my own work is Xhafa’s uncanny ability to conceptually convey his topics without the shock factor. This might help my obsessive tendencies to want to establish a relationship with the audience, as the message I would convey in my work could be of more importance. The formal aspects I might adapt include Xhafa’s tendencies to use found objects, as this means it is more recognized by the wider audiences. However I absolutely adore how he is not bound to a single medium.