Moroccan Fine Art: Finding an Equilibrium
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Moroccan Fine Art is pleased to announce Finding an Equilibrium at Coningbsy Gallery, London, 3 December – 8 December 2012. This exhibition showcases the works of two leading Morrocan artists, Salah Benjkan and Nourredine Chater, as well as the up-coming Moroccan artist Karim Attar.
The exhibition is under the Patronage of Her Highness Princess Lalla Joumala Alaoui, Ambassador of the Kingdom of Morocco.
Morocco inspires the romantic notion of an idyllic and an exotic life. Ancient medinas, colourful souks, her fabulous climate, sun-drenched beaches and her hospitable people have transformed the country into a desired destination.
Although religious and cultural traditions are still practised, over the past decades Morocco has been permeated by Western influences and urbanism. On the one hand these changes have caused unsettling tension and bewilderment within Moroccan society. On the other hand they have created a striking blend between old and new and provided a platform for artists to work in more liberated ways.
Salah Benjkan Benjkan associates his imagery with the Moroccan youth and the uncertainty surrounding their cultural and political identity. His childlike, somewhat comical creatures are distinctive features in his paintings. These fabulous beings are painted in bright coloured blotches and invade the white textured canvases. At first glance his playful depictions seem joyous and light hearted; at further exploration one notices a sense of melancholy. The figures are removed from reality, waiting for their destiny.
Nourredine Chater Chater states that his dynamic letters are the result of his ongoing studies which are influenced by a rapidly changing Moroccan society. His paintings are devoted to calligraphy and filled with gracefully encoded messages. From a distance the letters appear like secret signs. His playfulness with the graph is emphasised by his selection of colours. He is fond of natural hues and chooses vibrant shades for a more contemporary twist. The glyph predominates and symbolises both a point of entry and departure, and is a portal for an exploration of the sublime.
Karim Attar Attar grew up during a time when his native country experienced cultural transitions and political reforms. One way or another, these circumstances informed his artistic practice. His depictions are dominated by the human form and often portrayed in a transitional state. Attar’s opaque photographs often represent dancing dreamlike figures in contrast to his bold, estranged painted hybrids. His painterly depictions are emotionally charged and appear isolated against flat nondescript backgrounds. Torsos, limbs and innards formalise his sculptural language and seem to be born from his painterly mind, whereas his unique performances embody movement and children’s games.
Morocco’s media and art world has recognised Karim Attar as one of the most promising talents in the country
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