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Written by Ilir Muharremi, kritik i artit 28 Mars 2023
The greatest sculpture of all time focuses on gesture, appearance and likeness. The sculptor Gëzim Muriqi's Skanderbeg is presented with a sharp serious face, serious eyes, a piercing gaze, a crooked nose, which falls on thin pursed lips, a well-groomed mustache, a chin not elongated, but carefully trimmed. This work appears very serious, very psychological. It goes beyond the mirror of sculptures that we are fed up with. It is human too human. Refined in every detail with the most special care of the sculptor. If you look closely, it is not big, it looks like big, sticking out the chest, a symbol of bravery, historical facts. Wears the heavy medieval knight's outfit detailed by the sculptor who researches the costume design. You can see the Albanian dress. breaking, drapery movements weigh on his physiognomy. He holds the shield with the eagle and the star above. Dismounted from the horse, stripped of any kind of pathetic clothing, away from hyperbole, focused on a natural human plasticity, because as much as the sculpture sinks into the roots of classical realism, it still carries the medieval shadow. It is not the Skenderbe of Pascal that each of us keeps in our hearts and memories. It is a Skenderbe made from the scientific research of the character of the famous film Skenderbe and a combination of several engravings. Exactly, exactly to reveal every anatomical limb starting from the forehead, eyes, nose, mouth, chin, chest and the body as a whole. After the compositional movement, the sculptor himself feels the shadow of Gjergji inside. If you are a sculptor from whom many characters are reborn, you must have the soul of an actor, to feel in the soul as if the roles are lived by a body and soul that do not belong to them. The border between the actor and the character is very narrow. Here, the sculptor releases the chains of the soul, sails and sails towards a deep and mysterious world, which he really reveals without ignoring the scientific facts. Skanderbeg looks like a thinker, a strategist, deep in his projects, calculating the results which had good and correct conclusions. His deep vision that creates ebbs and flows for every sculptor from which the thought is not seen, but must appear after the mimicry that we notice. The sculpture must extend the space, communicate with the surrounding architecture, resist the climate, the shadows that will collide on this composition.