In ‘Thinking of You’, Alketa used a Kosovan football stadium as her canvas, which she painted with thousands of donated dresses in a powerful tribute to survivors of sexual violence, aiming to pierce the silence surrounding wartime rape.
"Britain is still Speaking" is the artist's way of showing that Britain has not finished speaking as the #Brexit slogan "Britain has spoken". The idea of the video is to show that despite the sentiment against refugees around the world, there is still solidarity among the British people for the refugees in need.
Even Walls Have Ears, takes the personal testimonies of the survivors of Albania’s communist regime and projects them in public for all to see.
The project’s physical medium is a highly symbolic one: “Walls! Walls, instead of being used for defensive purposes to avoid subjects and impede persons, will serve as platforms for living memory and healing.
In Refugees Welcome, Alketa seeks to recreate the welcoming feeling she herself experienced when she was new to the UK. Transforming the inside of a 1970s decked-out truck into a seemingly welcoming area for individuals to share their own experiences and thoughts on how refugees should be welcomed.
In "Vote to End the Poverty", these black and white photographs of Kosovo's most impoverished lives, tell the stories of people, the realities, that are easy to turn away from and ignored. They were exposed during election week to encourage people to vote to tackle poverty.
In her performance Waterfalls, Alketa Xhafa-Mripa contextualizes the past, present and future of borders.
At the centre of an enclosed room inside the Prizren bus station, there is a pool table, surrounded by people. One by one, the artist and four other women slowly emerge from the crowd and lay down their bodies over the table and spit many times in different directions.
They spit violently, as if to say: “Be damned with your borders and the rules you created for us.”
"In the Name of the Father" is a video which represents the love between Father and Daughter. The artist is seen washing her father, a ritual in Kosovo which is practiced once a person is deceased. Here, the tables are turned and the artist washes her father while he is alive. It portrays an appreciation of life and addresses the importance of love and family.
These photographs aim to de-stigmatise the most natural aspect of motherhood - breast-freeding. With this intimate series of portraits, Xhafa Mripa challenges the rigid conformity inherent in the role of women play in male-dominated societies where breast-feeding is often sexualised.
Dad and Me (2008) is a split-screen documentation of a telephone conversation between the Artist and her father. This is a refusal of authority on the one hand, and paradoxically, a need for affirmation and recognition on the other.