{ narration }
Dionisio is ten years old and he goes every day to Gjon Buzuku school in Tirana. The school is located in an area called Porcelain in the north east part of the city. It is called Porcelain because porcelain used to be produced there. One day, Dionisio is invited by his school to take part in a drawing workshop initiated by a foreign artist living in the same city as him. Dionisio does not know what the artist does precisely, but he loves drawing so he decides to take part. For two weeks he walked four kilometres from Porcelain to Qendra Ten in Rruga Myslym Shyri, located in the south east of the city, where the workshop happened. On the first day he met other children like him, coming from different schools in the city and who shared the same passion for drawing. In the beginning they were all sitting on the floor of a room in Qendra Ten, while listening to an engaging actress who told them about the physical characteristics of insects who live by night. Dionisio drew the insects – with a pencil and then fluorescent colors, on a long piece of paper placed on the floor – without knowing what the insects were called. Before he knew how to name them, together with the rest of the group, he was taken with a small bus to some buildings in the city capital where, they were told, the insects were currently living. The children were given some information about the buildings, such as when they were built and some humans who had lived inside in the past. No one was allowed to enter them, or at least not through the main door. On the bus windows and on the streets facing the buildings, the group of children was given coloured acetate paper to draw the lines and the details. One day, back at Qendra Ten, Dionisio thought about the patterns he had seen and drawn: all of them seemed to have something in common – a sort of solitude perhaps, and most of them a lack of maintenance. So Dionisio summoned up the same courage he had needed to walk four kilometres to cross the city and frequent a workshop initiated by an artist whose work he still did not know much about – but which at that point he was enjoying – and he asked:
“Why do you take us to these buildings?”
The artist responded with another question: “Why do you think?”
After a moment, Dionisio replied: “Because by drawing them we make them less lonely.”
