The academic painter Melik Arslani belongs to the new generation of figurative creators ,from the bosom of Fine Arts Faculty in Prishtina.He took the master’s Degree from the same University leaded by the famous pfofessor Tahir Emra.He actively created paintings
after graduating which is the basik spirit passion resulting to his further work creature.
The artistic world of the painter until the 2000’ths was corresponding with the breath of
expressive and intimacy introductory,with a grade of symbolical concept and where he puts the conspicuousness the utterans of passions into intern and extern space,always tryingto accumulateinto his soul themes and images perpetuated with an artistic sense from the country environment located at mountainside of Sharr Mountain and Pollog Fields-themes which not treated with a documentary way but with a poetical and figurative grade and sensibility.
With this source of inspiration the author,starting from the treatment of motives to subtle
expressive  reports of colorist he reaches the sincerest expression with the composition cycle ‘Interns end externs’.Therefore ,the painter never stayed at determining personal feelings,approaching circulating images of sight landscape but he mostly concentrated on the autochthony environment.
Against these motives in the further creative opus of Melik Arslani are mooted compositions with a totally different breath ,a grade and a breath that was deeply rooted into the subtle soul of the author.These were the events happening after2001.Events alike the ones thes happened in Kosovo,where Albanians perpetuated a deep distemper,scenes thas were dramatic and terrifying.Therefore,the painter Melik Arslani inspired from the everyday  images of these events deeply changes the style of painting.Now in his paintings predominates the daily compassionate thematic upon the honor of abstract introductory where through symbolic specter of ocher,blue,violet and cobalt colors reflects a part of the daily life chaos.
The work of art from the cycle ‘Soul Excitement’ ,are distinguished of the sincere artistic language with a rhythmic sense for colorist reports ,clear shapes and esthetic perpetuation.All these characteristics reach the most entire expression in the whole spectrum colorist gamma,where the painter the biggest compositional effect raises though contrastive reports of intensive colors at the most posthumous event focused in the compositional center and the transparent colorist of heavenly space who stays like antipode of posthumous bill.
One another characteristic of these paintings is the incorporation of the abstract figure thas stays heroically against such a chaos.respectively.resists the disarray results o of the time pitching rain.Thas is a symbol of resistance and surviving,of the continuance of life in those heaven spaces.
Prof,Dr. Hivzi Muharremi

(Impression of works of Melik Arsllani)

Melik Arsllani approaches his pictures without any prejudice, looking for the originality emotion which starting is far away in his childhood and which is spread on hardy to existence solicitudes of man to environment where the painter live and create. Following this subjective inclination or this empathy from an artist, the picture of Melik Arsllani interlocks one personal autobiography but also collective expressed through colors, sometimes grows dark and sometimes blossoms under the sky that the painter experiments with its works as with its own life.

The picture of Melik Arsllani forms, nuances, tones, contrasts, lines, but also the light and the dark-so everything that does the ontology of his picture, expressive tools artistic process are common with a great potentially chance to bring artistic value in aesthetically mature forms and professional.

If we take retrospective carefully a look to painter’s thematic and techniques, we can say that to him now notably at the final cycle there is happened an emotional explosion. Into the picture he realizes his idea with artistic tools which they crossed the inspiration groundsel and to the apprentice destination which is connected with a certain interiors and exteriors which means that now the picture is not “thinking” or is not conceived before technically, but used techniques and tools subservient to an imagination, an inspiration or one feeling and thinking artistic structure into the head of the author from which process is rising used techniques and tools.  Especially the final cycle of the pictures of Melik Arsllani, which refers t existential drama and solicitudes that brought the conflict of the previous years, reveal two views more or less contrastive, which testified today’s artistic matures condition of Melik.

All in all, especially in this pictures group, Melik Arsllani attempts to show an independent as a theme, subject and as inspiration and as imagination-physiognomy which assures the originality of this work and with an individuality status of the painter. I consider this progress with pleasure, comparing with his exposition, in Prishtina on the occasion of master, years before, where it was noticeable a clear preferential influence, affected from schools elements indispensable for the progress of an academic painter.

This valuable self-esteem, which is a tendency at the same time for stylistic, Melik Arsllani’s pictures joins with an advance level of technique and with expression tools in general.

In conclusion, I will ascertain that the “adventure” of Melik Arsllani straight to the request of contemporary art, is developed to an organic manner and with stylistic individual tools, by virtue of two extreme progressive references, inside which created and developed his originative identity, where firstly he called interior and exterior which he join them with big creative works.
Prof.dr. Kadri Metaj,philosopher -aesthete

In the exhibition consisted of two creative phases, which at the same time present a kind of retrospective, dominate the pictures transmitting expressive vocatives, interior and exterior architectonic sequences, a final shaped idea of the modern visual art. Such an artist undertaking is growing more and more in a carrying element of his creative identity.
The previous work phase of the artist Melik Arsllani expresses his connectivity with the archaic environment of his sky, with his fire-place and low table as main characteristics of intimacy and symbolically in the interior schedule. Through one more and more thematic and artistic expression final shaped idea he opens a way to the upcoming compositions where imaginary regions are present, more hypothetical than visual. The imaginary- mediate pictorial structure in these pictures emerges from the spiritual anxiousness of the author.
The meditation and the access through which the artist shape the final ideas of his visions show that the painting communication in his pictures corresponds with abstract, metaphysical, symbolical and semantics. Here is oriented and conceived his personal logical creative aspiration in the modern imagination.
Through consolidated ability for esthetic communication, the pictures of the upcoming cycle in a big rate suggest to dramatization and absurdities determined from the sick imagination of the human being- monster of the present. For this reason its destiny, the author associates to the chaos from the dehumanizing leading in today’s world.
As an alternative to that restless spiritual world presented in this cycle titled as “Spiritual Excitement” is human being whose identities fit the artistic conception of the artist.  The human being figure, seized from that virtual world is shaped to many specific forms and like that by the way gives cosmogonist characteristics to the compositions.
The coloration is typical, impressed like one very sensitive expressing mean.  The used panel is heterogeneous but disordered and at the same time imperative to one more selective access. During elaborating chromatic substances are effected in many interesting colorist expresses filled with ripen poetical sensitivity also..
From the darker colorism present at the previous pictures the author passes to a lighter colorism.  The colorist structure is not created as a result of the abusing tendencies of the polychromic, nor like monochromic rate.  It is obvious that at most of the pictures, the blue, ocher, white and the violet color are the bearers of the colorist substance. On the other hand, red, black and some other nuances are putted on behalf of keeping the balance between the gained colorist products in the whole cycle.

Following the seen, the conclusion is that the artist Melik Arsllani is on a good way to the authentic and original creative ripening.

Mr.   Mixhait Pollozhani

Lyrische Entdeckungen der inneren Welt

Melik Arslani, ein Maler der aus der Schule von Pristina kommt, eine Schule, die die größten Namen bildenden Kunst ausgestellt hat, ist bisher mit einigen persönlichen und kollektiven Ausstellungen in verschiedenen europäischen und amerikanischen Orten dargestellt, von der Kritik als eigenständige kreative künstlerische Individualität geschätzt.

Melik Arsllani drückt überzeugend die unruhige Welt durch Deformierung des Reales aus. Durch das Mahlen drückt das Wesen die Dinge aus. Für ihn bleibt das Bild eine Lichteroberung, ein Ausdruck der Farben, der Nuancen, der Nebel, der Schatten usw.

Melik Arsllani “fotografiert” nicht, d.h. er besteht die Fixierung von Augenblicken nicht. Er mahlt, da Malerei für ihn nicht nur Stärkung des Erlebens und der personale Darstellung in seine künstlerische Welt ist…  

Die neueste Ausstellung fasst drei Zyklen um: “ Seelische verwirrung ”, “ Interieurs” und “ Eksterieur”. Also, der Maler stellt zunächst künstlerisch nach persönlichen Erfahrungen. Dann  erweitert seine künstlerische Beschäftigung für eine andere Welt, die sie umgibt, und einer Welt, die weit weg und vergessen ist. Also, während er in der ersten Phase seine spirituelle unruhige Welt zeigt, in dem Zyklus “ Interieur” zeigt figurativ das albanisches Haus, also die Stube, Atelier…soweit in dem Zyklus “ Eksterieur” die Inspirationen des Lebens auf dem Land.

Im Zyklus “ Seelische verwirrung” stellt er die Welt nach einem Konflikt auf. Es herrscht Chaos, begleitet von der Ruinen und die Ausdauer. 

In den anderen zwei  Zyklen geht er in der Vergangenheit zurück; die Seelenruhe, den Frieden zu gewinnen, also die Welt voller Farben zu genießen. Das kann eine Flucht von der chaotischen Urbanisation oder von den betroffenen Werten in der Zeit sein als die Geschichte vielen Brüchen erlebt. Diese Flucht, also, geschient in der Zeit einer Aussiedlung. Das Zentrum wird immer mehr chaotisch, soweit die Harmonie in der Peripherie aussiedelt, in den wenigen urbanistischen Orten, in den Sachen, von uns in der Peripherie von unseren Interessen umgezogen sind, dort in der archaische Welt, in der vergessenen Welt voll in Farben, wo der Mensch die eigene Ruhe findet.

Arslani inspiriert sich in seinem Land als sehr schöne Natur, aber oft verwirrt. Durch die Farbe, ein dauerhaftes Material des Bildes, schafft er eine lyrische Herausfindung der inneren Welt.

Er hat Bilder gemahlt, welche von der Nähe und Ferne gesehen werden können. Von der Nähe erkennt man die Kunst des Künstlers. Mit sehr präzisen Pinseln hat er eine komposizionelle Ganze geschafft, eine sehr beindruckungsvolle künstlerische Welt. Von der Weite gesehnen, sind in seinen Bildern nicht nur ein Erlebnis sondern die Meditation erwachen. Seine Bilder haben in sich die Identifikationscode eines sehr schönes Landes, künstlerisch reichvoll, eine interessante und nicht völlig entdeckte Welt, eine Welt der Melik Arslani Bildern, farbenvoll, reichvoll mit Mythus, mit Ritualen, ein Bund von

Gefühlen.  Das ist die Welt, wovon der Künstler die Inspiration in ein echtes Kunstwerk auf seiner besten Weise dargestellt hat.                                                                   

Salajdin Salihu


Der Akademische Maler, Prof. Melik Arsllani, albanischer Nationalität aus Mazedonien, sieht das künstlerische Schaffen als Ausdruck einer kulturellen und geistigen Identität an, wobei er seinen Malstil oder seine Ideen für die Motivik seiner Bilder keineswegs aus der albanischen Volkstradition oder Geschichte schöpft. Er zeigt sich ganz zeitbewusst und entwickelte eine unverkennbare, abstrakt-assoziative Fantasiewelt, in der stark formstilisierte, fast schattenhaft, einsame Menschenfiguren, um seltsame, halb architektonische (urbane) halb tektonische (natürliche) Konstruktionen, offensichtlich ziellos herumspazieren. Diese geometrisch-organischen De-Konstruktionen sehen aus, als würden sie nicht mehr lange formhalten können und drohen sich zu zersetzen, oder sich sogar in monströse Wesen zu verwandeln, weshalb auch die wenigen Menschen lieber draußen bleiben wollen, als das sie sich in dem seltsamen Biotop zu integrieren versuchten. Die klare, ökologisch bewusste Symbolik der Entmenschlichung unserer natürlichen und urbanen Umgebung, in welcher bald nur noch schwierige Überlebensbedingungen herrschen werden, spricht den Betrachter wie eine Mahnung an, obwohl der Künstler durch seine lebendigen, fast pastellartigen Hellfarben trotzdem eine ebenso mögliche und optimistischere Vision der Zukunft anzudeuten versucht.

Mario Berdič, Kunstkritiker Maribor, 2009