Irena Paskali

“Urban Landscape”(2005-2006)

The same in the case with this cycle of her, titled “Urban Landsapes” –
photography, probably incited by the essential change of the entire visual
environment in her new surrounding (Köln, Germany).Namely ,as it happens to
all “newcomers”, the new “landscape”, the new everyday life dictates new
imposing vistas that are to be deciphered and perceived, to be adopted.
In this case Irena Paskali has proceeded from the general – from the global
idea of the city as a place with remarkable topography of horizontals and
verticals that decipher  its “landscape”.

This is probably the reason for the inevitable use of the panoramic photo
camera (“Digital Spheron; 16 mm. Nikon Fisheye), which provided the complete
“perception” of the landscape structure, the main markers and directions
(not only literally ) of communication. In addition, through the already
experienced topography of horizontals and verticals, Irena develops the
story, locating more precisely the dominant (not only for her) points and
the (possible) contrast of the place: historical, architectural,
profane-spiritual, etc. For example: subway-cathedral; geometry -gothic;
earthly and eternal an uniting duality in the life of this
(or any other) city! (Zlatko Teodosievski, curator from Macedonia)

But if the spectator takes the time and clones to witness the details of the
long images of tram station (as points of no return in time) or the Cologne
cathedral (as a point of every return possible in and after life).
The cathedral images concentrate on a spatial vision displaying the important
role of this building within the sight of the city. Once you are experienced
in looking at these images you perceive a lot more than you expected before-
it is worth looking at them for a long time! (Prof. Rolf Sachsse, Germany)