The heir of obliteration welcomes a new transformation. When a new voice is allowed into reason, a path forms. Familiar understanding on eyes, mouth, head, shoulders, organs, feet, and all else cease to take form without knowledge of a known logic. Xhiba seeks to apply this pressure into a manifestation. Accelerating the life cycle of an entirely distinct diaspora of thought, sub-natural operations feast on itself, a spectacle that is of an otherworldly, untouchable nature. Shielding from focus, Xhiba narrates a quiet acceptance of violence and chaos, not as destruction, but function. The scene, manifested from a core inheritance of rationalizing violence within oneself, functions in the same canon as an inherited render of life. The force of gesture, imagery, abstraction, and mysticism bring the transformation of states into their lived form. The paintings, in their own depiction of life, offer a refusal of clarity, a resistance of being known in full. What is rendered is not of a malice, but a logic of violence that functions without intent, unfolding with detached stillness. Human form does not apply. When the body resembles a known life, it becomes cruel. Growing from a completely untapped ethos, Xhiba’s world cannon is removed from imperial definitions. A morbid, but reassuring story, the paintings take form as a parallel to the human experience. Operating as the ‘left’ as you are the ‘right,’ the organism is everything in operation. This world offers a glimpse into an untouchable sacrament of personal experience and its travel beyond the mind. What follows a sacred experience shapes the point and forms a new map. Violence becomes visible not as punishment or chaos, but as motion. The reversal of domain is presented as accidental. Formed in a self contained lifecycle, degradation, and result, what is presented is the complete of the energy cycle, closing in on the samsara. The viewer is deliberately a peering placement in collaboration with the narrative. A function of vignettes distilled from memory, kindred genetics, and witness place the viewer as a voyeur. The spectacle spiritual biology, populated by creatures that vaguely resemble of our own form, biomerges with its own point a. : Rather than a human inheritance, the subject inhabits a reality of microcosmic entites under the subjugation of metacosmic forces. The viewer is not asked to react, but to hover. To witness with detachment instigates the stillness in grotesque. Violence becomes serene. The ritual of witnessing too much, too often, until sensation becomes observation presents the form as a protective depiction of a scene. Having been raised among wounds, experienced stare without fear, Xhiba renders trauma not as a rupture, but as a familiar topography. The narrative offers a lucid stillness, sterile and alert, where transformation can occur without interruption from morality and sentiment. The result is an emotional ecology where violence is ordinary. There is no hierarchy of value between decay and growth, but a temporal, cyclical state. Xhiba does not offer catharsis. Instead the viewer is offered a sacred unease, an order governed by cycles that have no obligation to human myth, time, or self beyond its essence. In a quiet obliteration, the illusion of what we are is beyond understood. Through the lens of desensitization, the work functions as a meditation on suffering and a learned breath. Purity in acceptance. I Look For Your Dying Face But All I See Are the Leaves, presenting new and recent works by Xhiba, will be on view through July 20. For more information, visuals, or a priced checklist, please contact general@kaleidoscopestudios.net