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anila rubiku

Figures of women, active and uninhibited, domestic settings made up of superfluous flooring, chairs and designer objects that fill interiors. Walls of houses containing the signs of everydayness. Tables covered with lace and red shoes forgotten in a corner. Women resting upon the backs of horses as if to train them. People in search of a better place.

These are the things that appear in my works.

In 2004, when I was invited to take part in the group show Colours of Albania in the World, at the National Gallery of Arts in Tirana, I performed with my mother, embroidering in an “art space.” Embroidery is a simple and humble medium, practically forgotten in Albania, but which has for generations been a part of my roots and family history, made up of women and a feminine sensibility, in a society where men call all the shots.
This was the beginning of the thread and needle in my work. It is also the main thread of my past, present and future, perhaps.
In the show Place for the Self (2004), at apexart, New York, curated by Amnon Barzel, I presented an installation consisting of 24 embroidered lace pillows.
Since I love paper a lot, especially handmade paper, in my most recent works I chose to embroider paper instead of fabric. I experimented: a stitch today, a knot tomorrow, a story embroidered as if narrated on a sheet of Amalfi paper.
It’s not that usual to embroider paper, but this absurdity interests me. The very gesture of perforating paper is important for me. Piercing or digging into lightness—nothing more.
I’m interested in the study and preparation that precedes a work. Paper, with its two-dimensional and white surface, becomes something else once it’s embroidered.
The very moment I mark or make holes in the paper, delicately or with force, there’s no turning back.
Everything has to be taken into account, beforehand. This is also the case with trips, but, at times, I get lost, though without ever forgetting my destination. My work is made up of bodkins, a needle and thread, drawings: humble, but precious materials.

What matters the most is the time I dedicate to it.

"A night light in Taipei"

2006
cm. 350 x 450 x 430

Milan -Tokyo a round trip

2006
1600 x 500 x 70

Video Installation "Urban Pornitecture"

2008
Carboard & Video installaion

Urban Pornitecture

2008
Video Installation
variable

Urban Pornitecture

2008
Video Installation

Urban Pornitecture

2008
Video Installation