KRESHNIK ALIAJ
Kreshnik Aliaj was born in Vlora in 1985 at the age of 14 he moved to Florence.
He graduated in 2006 from the Liceo Artistico Leon Battista Alberti, continued his artistic studies at the Academy of Fine Arts in Florence until 2009 without obtaining the diploma.
Kreshnik Aliaj meets Renaissance artists in the churches and palaces of Florence. It is not simply an artist's education in the history of art, it is something more and different: it is a daily work in close contact with masters, colleagues, rivals, friends, to a large extent living and real. A virtual but very concrete attendance of their disappeared workshops, which for him are still open, bustling with work and crowded with works. If the Renaissance artists had experienced, in their reconquest of the human figure, an affinity of work and life with the masters of classical antiquity, Kreshnik Aliaj lived the dialogue with the Renaissance masters with similar fraternity. He spies on their gestures, touches, inventions, efforts, disappointments, tricks and intuitions. He watches them work, questions them, challenges them, recognizing them as examples of shared work, companions of the same aspiration to transform life into sculpture and sculpture into life, not being satisfied with anything that is sculpture. Thus admiration becomes familiarity and respect understanding. He captures and analyzes Michelangelo's plastic strength, the miraculous and tragic multiplication of muscles, the titanic folding of hands and heads, but also the extraordinary formal parable from youthful anatomy to that of his last works. He discusses with Pontormo and Parmigianino the manipulation of long bodies culminating in a gaze, discovering that anatomy and gravity can engage in an inexhaustible duel of plastic curves. He frequents artists day and night whose anatomical obsession undoes all realism, establishing the model of bodies that are more real than reality. Every twist, every tension of the figure bears witness to the lucid conviction that the body is the only tool with which the mind can investigate the space and the world in which we live. What makes Kreshnik Aliaj a true sculptor is not only the sincere and modern assimilation of the stylistic solutions of the classical giants; it is also and above all his participation in that universal feeling of the human form which, although intangible like all thoughts, becomes visible when a sculptor begins to sculpt marble.
