Abaz Hado
Pervathi, a Painter of Aesthetic Systems
..As an emotional poet, Pashk Pervathi looks at nature as a source of spirituality, which inspires him and helps him create. He has a very interesting dialogue with the environment and he is as much direct as he is indirect. Nature stands in front of him as a reference point which he uses to prop himself against and unfold whole systems and codes of modelling and colour play.
Pervathi has formed variations in the form of cycles, which has given him the opportunity to arrange infinite dialogues. He is put in painting motion by an inside motive like the home, the warm ambience of home and childhood. He pulls up this real object as a tool of his memories, continuity and the centre of life. Further on, he has found decorativeness, discovered a variety of colours when he paints boats as reality and image tied in one. Or is it the small hills basking in light. While the movement of the trees with an adequate stylisation suggests the four seasons, his painting mood reaches a higher stage. And then there is the cycle of horses, which is nothing else but the means of finding a new code to form again other differing systems. This is the super-world he has created.
Special Colours, a Dialogue of Value
We find a special and totally individual feeling in this painter. He manages to harmonize decorative plans in value forms, which are rarely found at this degree of concretisation in Albanian painting in the last years. Those colour relationÂ’s articulate seemingly simple variations, which are in fact truly refined and elegant. He is rational; his backgrounds are spread with quiet brushes, which are broken or made noisier with very balanced disturbances. His is the painting of joyful colour, which is permeated by light, and a painting of measure. He works with some unexpected disturbances over a surface, over a sky, over a meadow. The whole surface plays this game.
His colour is very refined. While this is a general characteristic, it needs a delicate balance of colour in the case of a realist, decorative or symbolical painting. He is the creator of delicate value. He is now thinking of building new concepts over foundations he has gained from experience. Pervathi finds himself at a point in time when wants to say something different thanks to his feeling of being a special creator; he wants to re-create codes about the link to nature, the viewer and himself.
In the "Horses" trio, there are premises of conceptual understanding and colour tendencies. Pashk must be conceived in his entirety as individuality. The fact that his painting is distinguishable because of the colour constitutes, among others, a premise for start from his now broader road to a longer journey.
Symbolism
The whole of his works carries a direct symbolism of a realistic painting. There is not a more significant reference than the house, which assumes an emotional charge from the symbolism of loneliness and simplicity. The village landscapes combine variety with the symbolism of the urbanization of the village. And the elements, the lone boats on a background of a somewhat strange quietness stand motionless reflecting in the clear water, creating the suggestion of an unreal dialogue with him. There is an admiration-inspiring simplicity in the way Pervathi has treated them. Taking nature as an unchanged model, he takes from the trees their continuation into the branches and manages to introduce almost musical emotions in the "Four Seasons". It is not much if we compare it to the poetical harmony of VivaldiÂ’s music.
The painter Pashk PERVATHI has a simple symbolism that can be accepted as an aesthetic code because yearns for and reaches for a broader dialogue. First of all with the public, with his codes and his inalienable symbols.
Abaz Hado
Director of the National Gallery of Arts, Tirana
