Majlinda Cakshiri 2016

Editor: We're looking at "Majlinda Cakshiri," a pencil drawing by Gazmend Freitag, created in 2016. It has a raw, immediate quality. I’m curious – what strikes you about the material process here? Curator: What I find interesting is the accessibility of the medium itself. Pencil, paper – readily available tools. Freitag democratizes the process of portraiture. There's a deliberate focus on the graphite marks, the layering, almost exposing the labor involved in creating this image. Do you think this rawness affects how we view the subject, Majlinda? Editor: Absolutely! It moves away from idealized representation. I mean, you can practically see the artist's hand at work, the pressure and direction of each stroke. It doesn’t feel distant or polished, making it feel authentic. It really invites a connection, or at least a curiosity about the sitter. Curator: Exactly. And that gets at the heart of it. The simplicity of the materials directs our attention to the act of observation and representation. This approach almost critiques the highly mediated, often commercially driven, world of image-making we're constantly bombarded with. Do you see elements of skill versus accidents that drive your perception of Freitag as an artist here? Editor: Definitely skilled but very little is done to hide that these are the strokes that the hand made. So what do you mean critiques the highly mediated image making? Curator: With only a pencil, Freitag creates this. The act is free of layers between the viewer, subject and artist. You’re looking at something stripped to the basics! Editor: I never would have thought that I could examine a simple drawing this way, but it reveals much. Thanks! Curator: Agreed, thinking through process brings a fresh outlook.