Ibrahim Kodra - Two Multiples

70x50cm - €550

46x61 cm - €500

Available separately

The two works in question are abstract genre compositions. Abstraction derives from the Latin term “Abstrahere,” which means to extract, to pull out. The process of abstraction, in fact, consists in eliminating the particular and individual aspects of an object to derive a universal concept. From Kandinsky to Mondrian, from Pollock to Miró, many painters pushed the process of abstraction to its limits in their works, paradoxically creating pure forms and pure colors that do not exist in nature, or translating their emotions and instinctuality into images. The abstraction of the Albanian-born painter Ibrahim Kodra is fundamentally based on a post-Cubist reinterpretation of reality.

The two graphics are decidedly exemplary of the greater part of Ibrahim Kodra’s production. In his research, in fact, sensible reality is subjected to a mechanical reconstruction that essentially looks to Picasso and Cubism. The most interesting aspect lies in the fact that, in his mechanomorphic figures, Kodra manages to combine both aspects of Analytical Cubism (in the geometric decomposition of subjects in a complex space) and Synthetic Cubism (in the pronounced abstraction of the figures, reduced to a set of lines and geometric shapes). In Ibrahim Kodra’s post-Cubism, there are echoes of the art of Gino Meloni and Ennio Merlotti, but also of the fantastic geometries of Paul Klee. In fact, his subjects, in addition to having a purely mechanical character, in their totemic aspect and in the choice of an always brilliant chromatic range, bring a Balkan and Eastern suggestion that makes the works of this artist truly unique in their genre.

Ibrahim Kodra (Ishmi, 1918 – Milan, February 7, 2006). As a child, he is educated at the court of King Zogou. He completes his secondary education in a scientific field and attends the art school of Odhisea Paskali in Tirana. At the same time, he dedicates himself to sports, becoming an Albanian champion in discus and shot put. In 1948, he meets Pablo Picasso, who came to Italy for the Peace Congress. In 1950, he executes frescoes in public and private buildings in Milan, and the poetry book of A. M. Z. Tomsich is published, with drawings by Kodra. In 2003, he holds his personal exhibition at the Somerist Hotel, Termoli (Campobasso). We also recall the retrospective at the Civic Gallery of Tirana, Albania, and the retrospective at the International Art Gallery of Pristina, Kosovo. He creates the cover of the monograph “Leonardo Da Vinci” edited by Massimo Grillardi and published by Italia Grandi Opere (Bologna).

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