Trina Hashani
Trina Hashani is a Kosovan diaspora artist based in the UK whose work explores memory, oral history, and neglected environments. Drawing inspiration from her upbringing between the UK and Kosovo, Trina delves into themes of identity, cultural heritage, and rediscovery. Her practice focuses on turning forgotten and abandoned spaces into platforms for awareness, promoting sustainability, and fostering a deeper connection to shared histories. Trina’s work connects communities by sharing oral histories passed down through generations, often shaped by destruction, migration, and neglect. Compelled by her family’s heritage, she recreates the stories of once-thriving homes now left abandoned, using her art to preserve and amplify these narratives. Through photography, videography, sculpture, painting, and installation, she captures the essence of these spaces, breathing new life into lost memories and inspiring audiences to reflect on their own histories. Committed to preserving cultural memory while advocating for sustainable change, Trina uses creative expression as a powerful tool for transformation. Her art not only seeks to spark dialogue about identity and the environment but also aims to build meaningful connections and positively impact the spaces we inhabit for future generations.
Art
I chose art as a way to explore and communicate my identity, allowing me to connect with people through different perspectives. The more I created, the clearer my path became. However, I realized I didn’t want to limit myself to painting or sculpting for commercial purposes. Instead, I wanted to use my art to help communities and address environmental issues in a meaningful, artistic way. Being an artist has become a core part of my identity, providing a way to express myself and navigate the world. It has grounded me in the realities of life while helping me discover my passion and learn in my own way.
This journey has also encouraged me to use my practice to benefit people and their environment. As a visual learner who notices fine details, I’ve used my art as a tool to explore and deepen these learnings.
Inspired by buildings that hold lost histories or were once occupied by people fascinate me. Traveling to these locations allows me to notice details often overlooked, immersing myself in the nostalgia and uncovering hidden memories of the past. Visiting places tied to someone’s personal upbringing and witnessing how they’ve changed over time reveals countless untold stories. Simply talking to people, hearing their experiences, and seeing their lives unfold is one of the greatest gifts I’ve had the privilege to experience.
The Walls Are Talking 1234was one of the works I was most eager to create, as it allowed me to explore a larger sculptural installation that expressed my identity and mental space growing up. I chose the name based on the saying, ‘If only the walls could talk,’ because I felt that walls do speak through their weathering, aging, layers of posters, wallpaper, mold, and even the items hidden in shelves. These elements reveal a rich narrative of their history. I created a wall that visually told its life story, and as viewers approached, they could uncover layers that reflected the life of my family and myself. This piece was deeply fulfilling for me, as it embodied a long-held passion for making art that tells personal and shared stories. It reinforced my desire to continue creating work that bridges memory, history, and identity. My practice is shaped by oral histories, conversations, and archival photography, allowing me to explore personal and collective experiences. I visit abandoned spaces rich in history, capturing their narratives through photography. These elements help me envision sculptures and installations that preserve memory.
Additionally, I collect fragments across different mediums, forming the foundation of my research. The future of female art is here and will continue to thrive, providing crucial support for many upcoming artists to share their visions and life stories. Meeting driven female artists who are committed to creating positive change for others has been incredibly inspiring. 2 A recent example is Doruntina Kastratiâ’s work at the Venice Biennale 2024, The Echoing Silences of Metal and Skin, which symbolizes the bodily sacrifices of women working in industrial labour sectors. The piece highlights their experiences and gives voice to the struggles of female workers, particularly the fact that one-third have undergone knee replacement surgeries due to the physical demands of their jobs. I deeply respect artists in the Balkans who challenge stereotypes, using their work to share personal stories and amplify the voices of others. Their art inspires, educates, and empowers future generations.
Life
Since graduating, I’ve dedicated a year to exploring my passions by participating in residencies, workshops, and collaborations while building meaningful connections with amazing people in Kosovo. This journey has helped me grow both personally and professionally, allowing me to engage with people from diverse backgrounds and feel a stronger sense of belonging within the community. However, when I’m not in Kosovo, accessing opportunities can be challenging. Living in London often feels isolating, as the competitive nature of the art world here frequently demands significant financial resources to succeed. I have chosen to focus less on competition and more on creating collaborative, community-driven art. My goal is to develop workshops, exhibitions, and events that bring people together, foster community support, and address environmental issues. For me, art is not just a personal pursuit, a tool to uplift others and create meaningful change.
In my spare time, I dedicate myself to learning more about ecology and spending time in nature, visiting places like nature reserves, indoor gardens, and abandoned overgrown spaces. These activities not only support my mental health but also serve as a source of inspiration for my work. Currently, my ability to create art has been limited due to a lack of space, causing some disruptions in my creative process. However, this hasn’t stopped me from researching and planning future projects. I am eager to find an opportunity that allows me the freedom to create artwork, organise events, and explore ways to combine art and ecology.
My generation continues to face questions about whether we should have control over our bodies, lives, and social roles. Western media and online platforms often perpetuate unrealistic ideologies of what a woman ‘should’ be, leaving many anxious about their futures under backward-minded influences. In my perspective, I’ve seen how women in both London and Kosovo take charge of their lives. The women in my family and community are independent, breaking away from outdated social norms. Women in Kosovo, in particular, have shown great resilience, proving they are more than just wives or caretakers. However, the rise in femicide reveals the harsh reality many face when making choices for their own well-being.
It’s inspiring to see women in my family and friends: teachers, doctors, engineers, advocates, and entrepreneurs leading positive change. That has truly inspired me and I see hope for all women in the future . They reject regressive mentalities and embody the progress we need, becoming the true influencers of a better future.
From my perspective as an artist, I’ve seen how art can reflect equality by sharing struggles of identity from both genders, such as growing up, their passion, and life experiences. Creating art that fosters respect and builds safe communities embodies the true essence of feminism teaching respect and giving us a voice. It’s refreshing to see art used as an educational tool rather than one that objectifies, as objectification can lead to isolating events and diminish the space for education and meaningful reflection.
In my experience, I’ve encountered various feminist works, but in small cases I’ve noticed a disconnect between the artist’s identity and their storytelling. In some cases, the work felt more like a characterization, shifting the focus away from the artist’s narrative and instead appearing egotistical or self-centred. The exploration of the mental hardships of being a woman often lacked depth, replaced instead by a ‘sex sells’ approach that felt overly commercialized and overshadowed the stories of abuse victims. I believe in the importance of creating work that spreads awareness of women’s struggles, personal stories, and traumas. Feminist art should reflect the reality of women’s experiences and honour the resilience and hard work of women throughout history. Your story and their stories matter.
Politics
My relationship with politics has always been complex. I often find it difficult to express my thoughts through words, but I’ve discovered that using visual and actionable approaches helps me and others better understand the impact of political and social issues. This is particularly true when addressing environmental and health concerns, where clear communication is vital. My connection to politics is deeply rooted in my family, particularly on my mother’s side. My grandfather, who dedicated his time and efforts to helping people during challenging times, had a strong influence on me. Seeing his commitment to supporting others and amplifying their voices shaped my understanding of the human side of politics and the importance of advocacy. Inspiring me to further explore and support living conditions through journalism and art, giving people a voice through various creative and documentary forms. Today’s world, it feels like anything that supports creating a healthier environment and positive change is politicized, regardless of its potential benefits. As in we don’t need more shopping malls or endless stretches of concrete; We need support in creating spaces that genuinely benefit communities and the environment. The artistic communities in Kosovo demonstrate a strong commitment to educating all generations about the vital connection between environmental health and human well-being through community-driven events and initiatives. However, I’ve come to understand that they struggle to receive support due to privatized companies and a lack of recognition from political leaders. I lean more toward identifying as an artist rooted in my national identity, using my platform to explore and create. I tend to keep my identity as a woman more private due to past experiences with unwanted attention. However, connecting with like-minded and respectful communities has allowed me to express my identity authentically, fostering a deeper attachment to reality and my surroundings.
1Trina Hashani, The Walls Are Talking, Mixed media installation (wood, paint, recycled materials, personal found objects), 2023 - https://youtu.be/E_TXYR0NyxQ?si=gvgEVIWr2Xjcd38i.
2Trina Hashani, The Walls Are Talking, Mixed media installation (wood, paint, recycled materials, personal found objects), 2023 Courtesy of the artist.
3Trina Hashani, The Walls Are Talking, Mixed media installation (wood, paint, recycled materials, personal found objects), 2023 Courtesy of the artist.
4Trina Hashani, The Walls Are Talking, Mixed media installation (wood, paint, recycled materials, personal found objects), 2023 Courtesy of the artist.
5Trina Hashani, Collage of Homes, Mixed media collage, 2023. From: 4 personal photography collages of Kosovo that are close to home. Courtesy of the artist.
6Trina Hashani, Collage of Homes, Mixed media collage, 2023. From: 4 personal photography collages of Kosovo that are close to home. Courtesy of the artist.
7Trina Hashani, Collage of Homes, Mixed media collage, 2023. From: 4 personal photography collages of Kosovo that are close to home. Courtesy of the artist.
8Trina Hashani, Collage of Homes, Mixed media collage, 2023. From: 4 personal photography collages of Kosovo that are close to home. Courtesy of the artist.
9Trina Hashani, Collage of Homes, Mixed media collage, 2023. From: 4 personal photography collages of Kosovo that are close to home. Courtesy of the artist.
10Trina Hashani, Ghost Homes, Mixed media installation (wood, paint, recycled materials, personal found objects), 2023. From: recreating abandoned homes, filled with memories. Courtesy of the artist.
11Trina Hashani, Ghost Homes, Mixed media installation (wood, paint, recycled materials, personal found objects), 2023. From: recreating abandoned homes, filled with memories. Courtesy of the artist.
12Trina Hashani, Ghost Homes, Mixed media installation (wood, paint, recycled materials, personal found objects), 2023. From: recreating abandoned homes, filled with memories. Courtesy of the artist.
13Trina Hashani, Smogscape Project, Video and photography, 2024 - https://youtu.be/4wRFQR2EfZA?si=JEa-6nRCizkFSlFD (HADE), https://youtu.be/tKPCJhsRK_Q?si=2B3MvnZKXn5vrCNK (KOSOVA B), https://youtu.be/RnfdrUukhBM?si=02f06HYWrlv_rAoI (OBILIK).
