Approach

After an enriching programme training in painting at the Damascus School of Fine Arts, followed a theoretical study that led to a PhD in Art History, [thesis raising the question of the face in the work of one of the major painters of the contemporary Arab world and avant-gardist in the Art History in Berlin, Marwan (born in Damascus in 1934, died in Berlin in 2016), published under Marwan. Face à face in the Peter Lang Publishing, 2018] at the University of Paris 1 Panthéon Sorbonne. This notably enriched my artistic practice in the pictorial. My art draws on the meeting and the confrontation of the other.

First and foremost, my work relates to the human condition through the representation of the body. More recently the action of dancing, sometimes taken as a full or fragmented action has continued to manifest in my pictorial universe as Body-landscape, sometimes without a head or a face. It is anonymous, hidden by a sheet that becomes one with a gesture. There is no question of gender here, although the female captures more ground. The body takes over the canvas by it’s extremities: distant face, over head view of the feet limiting the gaze. The nightgown and sheet move closely to our nakedness and without a trick or the appearance to, everything refers to another timescale. The transparency, opacity, mirroring, green tone and flesh, earthy fabric, the sheet becoming the skin; opening our first universe: the home, the shell of self, one’s privacy.

The theme of my work is the result of a thought process that endures through time. What I will be showing is not in a chronological order, for example some paintings produced in 2006 were the subject of my performances in 2009; some themes featured in 2003 were reworked in 2008 and some paintings started many years ago, are still in progress. In my work, the notion of time does not follow a linear structure instead it is rooted in the idea of timelessness, emphasizing intimacy and sensations. It is through the duration of time that an artwork rejects the superfluous and draws closer to authenticity.

My artwork takes shape in varying scales, sometimes it can exceed tens of metres and at other times it doesn’t go past a decimetre. Each has its own expression, most of the time tense, asserted with layers of colour and various shades. The technique is often mixed even with works on paper: oil, pigments, ink, acrylic, glue or various etching processes. I rarely do a preparatory drawing. The drawing is self-governing, daily, first, it is an end to itself. Painting is fundamental, manifesting instant colour, space and grading, memory thickness.