Ibrahim Kodra - Untitled

Flowers as a subject in themselves began to appear in still lifes, a genre that emerged in the early 17th century. Subsequently, painters, especially the Impressionists, increasingly focused on the floral world as an extraordinary opportunity to capture vibrant colors and light. Thus, flowers began to appear not only in vases, but also immersed in their natural landscape. While initially a pretext for painters to attempt a photographic reproduction of reality, with contemporary art, the subject of flowers also becomes a way of interpreting reality. The Albanian-born painter Ibrahim Kodra bases his reconstruction of sensory data on an abstract language strongly inspired by post-Cubism.

This work is certainly exemplary of the artist Ibrahim Kodra's oeuvre. In his research, sensory reality is subjected to a mechanical reconstruction that draws primarily on Picasso and Cubism. The most interesting aspect is that, in his mechanomorphic figures, Kodra manages to combine aspects of both Analytical Cubism (in the geometric decomposition of subjects within a complex space) and Synthetic Cubism (in the accentuated abstraction of figures, reduced to a set of lines and geometric shapes). Ibrahim Kodra's post-Cubism echoes the art of Gino Meloni and Ennio Morlotti, as well as the fantastical geometries of Paul Klee. Indeed, his subjects, beyond their purely mechanical character, in their totemic appearance and consistently vibrant color palette, convey a Balkan and Oriental influence that makes this artist's works truly unique.

Ibrahim Kodra (Ishmi, 1918 – Milan, February 7, 2006). As a child, he was educated at the court of King Zogou. He completed his high school studies in science and attended the Odhisea Paskali art school in Tirana. At the same time, he devoted himself to sports, becoming Albanian champion in the discus and shot put. In 1948, he met Pablo Picasso, who had come to Italy for the Peace Congress. In 1950, he painted frescoes in public and private buildings in Milan, and the book of poems by AMZ Tomsich, featuring drawings by Kodra, was published. In 2003, he held a solo exhibition at the Somerist Hotel, Termoli (Campobasso). Other notable exhibitions include a retrospective at the Civic Gallery of Tirana, Albania, and a retrospective at the International Art Gallery of Pristina, Kosovo. He designed the cover of the monograph “Leonardo Da Vinci,” edited by Massimo Grillardi and published by Italia Grandi Opere (Bologna).

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