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The Daily Star (Lebanon)
November 8, 2012 Thursday
An artistic breeze blows in Saifi
by Chirine Lahoud
Lebanon is nothing if not multicultural. The mixing of French, English
and Arabic in one sentence, the mingling of tradition with the
trappings of modernity make Lebanon appear unique.
BEIRUT: Lebanon is nothing if not multicultural. The mixing of French,
English and Arabic in one sentence, the mingling of tradition with the
trappings of modernity make Lebanon appear unique. There are strong
multicultural undertones running beneath the latest group show at
Saifi Village's Alwane Gallery, which includes paintings by Maral Der
Boghossian and Louma Rabah, along with the sculptures of Samia Baroudi
and Sylvia Dakkak.
Born in 1976, Boghossian mixes traditional Middle Eastern motifs with
representations of buildings, landscapes and self-portraits. In her
artist's statement, she explains that "integrating patterns ... is
[her way] to give an identity to this urban space which is about to
lose its own."
In her mixed media triptych work "La Ville et les Signes I" (The City
and the Signs I), viewers immediately understand Boghossian's
objective. In the foreground of her depiction of a cityscape are a
cluster of white triangular objects that resemble the sails of
pleasure boats, with the predominant shades of blue punctuated by
variations on a theme of yellow.
The scene is deceptively realistic, with traces of rectangular
tapestry - each betraying a distinctly Middle Eastern motif - standing
in for building facades.
Though there is something slightly suffocating in these juxtaposed
layers of color, the effect of the piece is ultimately soothing.
The same approach is evident in another Boghossian triptych,
"Inoubliable Ville Multiculturelle" (Unforgettable Multicultural
City). Here the layering of architectural and handicraft motifs are
supplemented with a trio of stylish angels.
You might assume the work betrays some theological preoccupations on
the part of the artist. In fact Boghossian has borrowed these figures
from the tradition of Persian and Armenian miniatures. In her artist's
statement, she proposes that the blending of cultures is like the
weaving of carpets.
The work of Rabah is also preoccupied with cityscapes, though she
seems uninterested in blending traditional and modern motifs and her
palette is more exhaustive.
Rabah's "Maktouaa Bil Hayel Tahtene" (Stranded in the Lower
Neighborhood) is a depiction of a city at night. At the bottom of the
canvas, the edifices are submerged in darkness - represented in black
and azure - while the upper part of the piece is dappled with strong
reds, blues, greens and yellows.
Baroudi's sculptures all work with the theme of the whirling dervish -
aka the Mawlawi Sufi in the midst of his dhikr - and the 12 clay works
on display here portray dancers or musicians. With one arm directed
skyward and billowing skirt, Baroudi's representation of the dervish
is meant to suggests the impression of movement, a challenging task in
clay sculpture.
Dakkak's sculptures are completely different.
Her 20 sculptures represent a dog, woman, donkey or elephant among
other figures, all in vivid colors. The irregular application of color
gives Dakkak's work an echo of art naïve.
This collective show is up at Alwane Gallery in Saifi Village until
Nov. 21. For more information, please call 01-975-250.
From: A. Papazian
November 8, 2012 Thursday
An artistic breeze blows in Saifi
by Chirine Lahoud
Lebanon is nothing if not multicultural. The mixing of French, English
and Arabic in one sentence, the mingling of tradition with the
trappings of modernity make Lebanon appear unique.
BEIRUT: Lebanon is nothing if not multicultural. The mixing of French,
English and Arabic in one sentence, the mingling of tradition with the
trappings of modernity make Lebanon appear unique. There are strong
multicultural undertones running beneath the latest group show at
Saifi Village's Alwane Gallery, which includes paintings by Maral Der
Boghossian and Louma Rabah, along with the sculptures of Samia Baroudi
and Sylvia Dakkak.
Born in 1976, Boghossian mixes traditional Middle Eastern motifs with
representations of buildings, landscapes and self-portraits. In her
artist's statement, she explains that "integrating patterns ... is
[her way] to give an identity to this urban space which is about to
lose its own."
In her mixed media triptych work "La Ville et les Signes I" (The City
and the Signs I), viewers immediately understand Boghossian's
objective. In the foreground of her depiction of a cityscape are a
cluster of white triangular objects that resemble the sails of
pleasure boats, with the predominant shades of blue punctuated by
variations on a theme of yellow.
The scene is deceptively realistic, with traces of rectangular
tapestry - each betraying a distinctly Middle Eastern motif - standing
in for building facades.
Though there is something slightly suffocating in these juxtaposed
layers of color, the effect of the piece is ultimately soothing.
The same approach is evident in another Boghossian triptych,
"Inoubliable Ville Multiculturelle" (Unforgettable Multicultural
City). Here the layering of architectural and handicraft motifs are
supplemented with a trio of stylish angels.
You might assume the work betrays some theological preoccupations on
the part of the artist. In fact Boghossian has borrowed these figures
from the tradition of Persian and Armenian miniatures. In her artist's
statement, she proposes that the blending of cultures is like the
weaving of carpets.
The work of Rabah is also preoccupied with cityscapes, though she
seems uninterested in blending traditional and modern motifs and her
palette is more exhaustive.
Rabah's "Maktouaa Bil Hayel Tahtene" (Stranded in the Lower
Neighborhood) is a depiction of a city at night. At the bottom of the
canvas, the edifices are submerged in darkness - represented in black
and azure - while the upper part of the piece is dappled with strong
reds, blues, greens and yellows.
Baroudi's sculptures all work with the theme of the whirling dervish -
aka the Mawlawi Sufi in the midst of his dhikr - and the 12 clay works
on display here portray dancers or musicians. With one arm directed
skyward and billowing skirt, Baroudi's representation of the dervish
is meant to suggests the impression of movement, a challenging task in
clay sculpture.
Dakkak's sculptures are completely different.
Her 20 sculptures represent a dog, woman, donkey or elephant among
other figures, all in vivid colors. The irregular application of color
gives Dakkak's work an echo of art naïve.
This collective show is up at Alwane Gallery in Saifi Village until
Nov. 21. For more information, please call 01-975-250.
From: A. Papazian