The history of things undergoes myriad metamorphoses and appropriations that

play important roles among generations. For John Ruskin, tradition means inheriting - from one generation to another - the conditions, mistakes and imperfections that are integral parts of all work practices. During the 19th century, Albania underwent

a sudden industrial and productive boom, during which the work and

products of artisans were subject to disciplinary tactics. Albania became home to numerous factories which propagated the development of ethnographic culture and authentic work methods. In the process, labor transitioned from an ‘imperfect’

cultural product but rich with personal experiences, to an expression of collective values resultant from the demands of depersonalized mass culture. Having grown up after the collapse of the state socialist regime, I often tried to understand why

ethnographic homogeneity became idealized in the mind of the post-industrial human being for a more emphatic and rich cultural heritage. The notion of visual collective memory is what has motivated this artistic action. The quilt – which is a symbol of ethnic identity and cultural heritage – undergoes a chemical process

whereby the dyes are removed entirely from the thread. We are therefore confronted with two important processes concerning my artistic interests: separation and

recreation. The physical base of this quilt demands closer inspection and sensorial engagement to be recognized as the symbol that preceded it, based on prior knowledge and personal experience. We also have the remaining liquid which consists of many layers of color and further undergoes a process of evaporation which repositions

the dyes that used to cover the quilt.