(…..) Therefore the artist does not have a theoretic place to stay: he’s forced to be a nomad in concept, condition that underlines and strengthens the chance of life for which Paci, emigrating from Albania, is also a deserter from his country. The relation of loss of the country, actually with his dose of uncertainty towards the new rules to follow by heart and respect, is analogue in everyday life like in the conception of art.
In a notorious video one of the two daughters of the artist sings an Albanian songs.
From a different screen, opposite and lower down, the relatives left in Albania, are echoing with love to a child that, maybe, they will never see again. And maybe soon, she will forget of these first elements of her culture of origin.

(….) This vagabond state, that from the personal sphere slips in the disciplinary and vice-versa, has found an expression even more synthetic and efficient in the series of images in which Paci is shown with an upside-down roof on his shoulders. The roof is the conventional one, with the red tiles, the same every child draws and we imagine when we think of a house. But the artist puts it on his back as if they were a pair of wings, upside-down; so it is no longer a roof for protection, for resting, for staying, but it becomes an excellent sign of the effort, of going, of the attempt that contemplates the possibility of mistake.