Vénera Kastrati's research is focused on the study of human condition in its extreme state of emergency.
She is interested on the evolution of the human condition related to the social environment background, to every kind of imprisonment, as it is social or political, to all kind of rules created by the human being which are responsible of the individual transformation in every form. To the social power which provoke walls, separations and claustrophobia feelings. One of the recent subjects in her work is the recovery of the collective memory and the human emotional reaction in front of the distance of the memory itself. Her academic education background as painter and graphic in Tirana was the first step towards the language of visual arts. The first influences on her current work was the short experience she had in Italy with traditional puppets, where she discovered the contemporary shadows theater.

Excited by this argument, with the second academy formation in Milan, she was totally attracted by cinema, and its history. Her thesis in cinema, “Truffaut meets Hitchock, cinema and phsychoanalysis”... was fundamental for her interest in phsychoanalysis and the language of photography and video. Since from the beginning, she was working mostly in the studio. Her work process in most of the cases has something to do with building a scenery in different sizes. She is also interested in every fragile and fading object in a three dimensional context and big dimension installations, focusing on lights and sounds effects....for example, burning sugar made house in “Eclipse”, sugar bed in “Hospital”, invisible shadows in “7passi”, in “Mirupafshim, shadows of voices” and in the video “Harvest Moon” etc.

Her last research in art has strong associations with the ancient art of shadow puppetry, while also referencing the roots of photography and cinema