Renea, in collaboration with an AI model, reinterprets her painting And So I Gaze and creates a digital virtual space. The video is rife with glitches, disruptions of the smoothness of digital realities, challenging our ingrained ideas about the body and its boundaries. In her work, Renea engages with the ideas put forth by Legacy Russel, who describes the "language of the glitch" as a way to break apart the binary systems that shape our understanding of identity. According to Russel, the "error" in these glitches is not a flaw but a necessary disruption in a world that has long enforced rigid, hierarchical structures of value—systems that tell us some bodies are more valid, more deserving of recognition, than others. Through the glitches, Renea talks about the bodies that have historically been "othered" the bodies of women, animals, and the "leftovers" of society, whose existence is too often minimized or dismissed. In this work, she explores what it means to be rendered invisible or less important simply because of who or what we are. The glitches, in their disorienting and fragmented forms, reflect this fractured relationship between bodies and power in society. In the video, the figure glitches through various virtual spaces, their body contorted and distorted. At times, they appears without legs, with extended limbs, many fingers, or extra body parts, visual disruptions that challenge conventional depictions of the body. These glitches create a new, unsettling kind of beauty, one that defies the traditional norms of the body as fixed and whole. They ask: how do we coexist with beings and entities that exist outside of our imagination, outside of what we currently understand as possible? What happens when our bodies are no longer neatly defined or bound by the limits of our current systems of thought?

- Anyla Kabashi (From the curatorial text of the exhibition All this time, becoming, Prishtina, 2025)