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Issue# 3 Summer 2019
Maria Ossandon Recart Paola Santagostino Zahra Hooshyar Silvia Manazza AskÄąn Akman Viktoria Savenkova Jad El Khoury Braids | W:80.00 H:120.00 cm | by Viktoria Savenkova
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OBSERVICA M a g a z i n e
Issue# 3 Summer 2019 August - 2019
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Date:
15-Aug-2019
Publisher:
Discover the Artist
Observica is a Canadian contemporary art magazine published by "Discover the Artist� media holding. It focuses on telling the compelling story of signi cant arts created by brilliant artists from all around the world. Our publications are available to millions of art lovers, experts, collectors and enthusiasts in both digital and print format and reaches readers in over 100 countries.
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Maria Ossandon Recart Paola Santagostino Zahra Hooshyar Silvia Manazza AskÄąn Akman Viktoria Savenkova Jad El Khoury
Reconstruction Drawing, Pen-Ink Drawing on Paper - Cotton W:34 H:64 D:6 cm 2019 Ma ria O ssa ndon Rec a rt
AW127021650
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Issue# 3 - Summer 2019 biafarin.com/observica2019summer
Maria Ossandon Recart Mixed Media, Sculpture, Installation, Painting, Drawing
My name is Maria Ossandon Recart and I’m a visual artist. I was born on December 17, 1986 in Santiago of Chile. In 2011 I graduated of Bachelor of Fine Arts, University of Art and Social Sciences – ARCIS, Santiago of Chile and in 2015 I Graduated of Art Studios, Ponti cal Catholic University of Chile. In 2008 I won the rst prize in installation mentioned in the "Arte en vivo” contest, organized by National Library and Museum of Fine Arts, Santiago of Chile. I have participated in di erent group exhibitions and art-fairs both in Chile and in foreign countries: 2012- Collective Exhibition “Far from home” Bicentenario Gallery, Estación Mapocho Cultural Center, Santiago of Chile. 2012- FAXXI Art Fair, Rosedal Parque Araucano, Santiago of Chile. 2015- Collective Exhibition "Map of the New Art- Imago Mundi" Collection Ojo Andino, Fondazione Giorgio Cini-Biennale in Venice, Italy. 2016- Collective Exhibition "The Art of Humanity" Imago Mundi - Luciano Benetton Collection, OJO ANDINO Collection Chile, Pratt Institute, Brooklyn, New York, United States. 2017- Exhibition EXPANDED 11 female artists from Chile to Berlin at SomoS Art House, Berlin, Germany. 2017- Participation in NordArt International Art Exhibition, Kunstwerk Carlshütte, Büdelsdorf, Germany and won Biafarin Awards. 2018 - Collective Exhibition "Malamegi Lab 9 Arts" Centro Transnazionale Della Arti Visive, Venice, Italy 2018 - Collective Exhibition "Landscapes: Real and Imagined" in Site: Brooklyn Gallery, New York, United States 2019 - Collestive Exhibition “Botánica”, Aninat Gallery, Santiago, Chile. 2019, Agosto, Participation in Mercado de Arte de Córdoba, Argentina, whit Aninat Gallery
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Reconstruction | Drawing, Pen-Ink Drawing on Paper - Cotton | W:50 H:40 D:5 cm | 2018
Maria Ossandon Recart: The silent charm of the fragment Emanuela Zanon Art Critic
We live in an age saturated with images: thousands of them are produced at every moment also independently of the hand or the human eye thanks to automated control devices that record the incessant passage of men, vehicles and goods in the spaces where our lives take place. Most of these images have neither aesthetic nor cognitive purpose, but are coldly functional: a life would not be enough to look at them all and it would be impossible to remember them. The images have always had a very close connection with the commemoration, they embodied the unequal struggle of man against the transience and irreversibility of time, expressing a tragic conception of life as an inexorable loss and consumption. Commemorating the dead through images meant approaching temporal areas that would naturally remain separate and invoke the presence and return of the absent. The eternal present conveyed by the hyper digital connection and the exponential multiplication of images no longer tied to a material support have radically changed our relationship with memory and its visible representation. Even the images have lost their sacred and magical aura to become ephemeral and super cial consumer objects, incapable of arousing direct contact with the origin of our emotions. Maria Ossandon Recart (1986, Santiago of Chile) re ects on these themes and on the need to recover the founding and imaginative value of the memory. She is a young artist internationally appreciated, committed to recovering the poetic dimension of themes such as time, memory, metamorphosis and the rebirth of images. The series entitled "Reconstruction" comes from a collection of fragments of painted ceramics that the artist has grown over time during her travels to di erent places in the world, such as Germany, Denmark, England and Japan. Maria Ossandon Recart has always been interested in the representation of the landscape in miniature, signi cant for the peculiar mix of arti ciality and underlying reality. She began to browse in antique fairs and ea markets in search of ceramics in di erent states of conservation united from manieristic landscape depictions. These objects, once domestic furnishings or accessories that embellished the homes of families of di erent nationalities, today seem to be anachronistic nds from a past that survives only in the memory of the elderly.
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The artist, appropriating the miniature scenes depicted on these pieces, becomes metaphorically guardian of the invisible stories that over the years have clung to those objects, becoming the last witness of the lifestyle they re ect, otherwise destined to disappear completely. The archaeological attitude that animates her collection, in which the aptitude to take care and protect is central, is only the rst phase of a more complex process, which explores in depth the fragile possibilities of resistance of the image in the society of consumerism. Each ceramic fragment is in fact the starting point for a larger drawing that completes the scene made incomplete by the fracture through a graphic reworking that attempts to reconstruct the missing context. The artist approaches the work of the anonymous artisans of the past with extreme sensitivity in grasping the style to which she seeks to remain faithful, but at the same time re-elaborates the scenes based on the resonances that the existing gurative suggestions exercise on her memory and imagination. In the rare ed white of the drawing paper, which seems to dematerialize and conceptualize the original ceramic background that housed the miniatures, subtle ink strokes surround each fragment as if to mend its isolation from the world and recreate around it another minimalist and idealized ecosystem that brings the narrative potential back to life, enriching it with new suggestions. In this way the artist materializes a past that is not her own, but that belongs to her intimately because it manages to dialogue with her personal experiences. The small size of these works, which require close observation, eliminates the distance between the work and the spectator, who nds himself immersed in a delicate microcosm suspended between memory and dream. On tiptoe so as not to ruin the enchantment, we can therefore venture into a cultivated British countryside heading for the castle that can be seen beyond the hill, we can walk in a Flemish village with the roads still unpaved, take part in a romantic trip in boat on the river or admire the elegance of the owers of a re ned Japanese garden. The rare human silhouettes that appear in these scenes, rather than allude to speci c characters, seem to ful ll the function of entertainers ready to welcome the most genuinely childlike part of our fantasies into their carefree consortium. The stylization of the gurative elements does not prevent identi cation, as proof of the fact that knowledge and imagination (and therefore also creation) are based on a process of recognition of images already latent in our unconscious. The work of Maria Ossandon Recart identi es the mission of art in "collecting" things to free them from the transience and dust of oblivion, in making their brief passage in consciousness last over time, restoring the wonder of man in front of the world and in front of himself. Her timeless approach, which does not fear to give trust to anachronisms and survivals of forms, implies that images are not independent entities, outside of us, they cannot be separated from our experiences or our desires but are born of our harmony with the universe to which we belong and which also lives in us.
Maria Ossandon Recart
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Reconstruction Drawing, Mixed Media on Paper W:30 H:30 cm 2018 Ma ria O ssa ndon Rec a rt
Drawing and ceramics on cotton paper (acid free) AW127396848
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Issue# 3 - Summer 2019 biafarin.com/observica2019summer
Reconstruction Drawing W:30 H:30 D:5 cm 2018 Ma ria O ssa ndon Rec a rt
"Reconstruction" is part of a series, which has aimed at the collection-reconstruction of broken ceramics for me or found in that state in di erent places and countries, such as Germany, Denmark, England and Japan. In its reworking I have tried to approach some imaginary or home experiences that may not have disappeared completely. There is, therefore, a theme of memory, although the artwork does not pretend to be an archeology: although it seeks to be faithful to a past, it does not ignore the resonances that these scenes have in me, nor the mixtures that I made of myself. aesthetics and motives. A past that is not mine, but also speaks to me, partly because it belongs to me.
AW127591028
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Visible and Invisible - 3 Psychoanalytic Sessions Painting, Acrylic on Canvas W:100 H:220 cm 2019 Pa ola Sa nt a gost ino
AW127876014
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Paola Santagostino Painting
I re-met painting at the height of a long career as Psychoanalyst, but it was a much older and earlier love: perhaps the rst. As a girl I was practicing in the studios of artists, but then my life took a di erent path and for many years I worked in Psychosomatic Medicine, discovering the links between mind and body and the roots of physical and mental well-being. In addition to clinical practice I published many books,wrote hundreds of articles and conducted courses, and I still do, but my love for painting continued to re-emerge in other forms, driving me to explore the symbolic meaning of colours and their psycho-physical e ects in the environments in which we live (a topic on which I published the book “Il colore in casa” Ed. Feltrinelli). So nally I decided to registered to the Academy of Fine Arts of Brera and graduated in Painting completing my studies. Dedicating myself full time to painting, as I am actually doing, has meant for me to open a new cycle of life, in which my artistic and professional passions have magically met, integrating with each other and merging into a daily practice capable of accommodating both knowledge. My artistic language springs from my professional activity: when I hold a session of psychoanalysis, I need 'paper and pencil', not for taking notes but for drawing 'signs' that follow the concatenation of my thoughts. They are circles, arrows and sometimes a word, but my brain needs to connect to my hand to work more lucidly. While I speak I follow with drawing the development of the speech, I organize it for points and connection lines, I visualize it in an almost geometric way as a network of concepts. Personally I would throw away those sheets of paper when I nish to talk, for me they have already exhausted their function, but my patients take them out of my hand, even go to recover them from the wastepaper basket, asking to keep them for remember what we said, and really, observing them, I too can see the thread of the discourse we have just done. When we look at an abstract painting our mirror neurons are activated and follow the movements of the artist's brush, so they reproduce the emotion that has moved those gestures, and allow us to perceive the mood of the artist 'during'the execution of the painting: it is a physiological transmission that goes directly from one unconscious to the other and set the foundations of empathy and subliminal understanding of an art’s work. With my paintings I want to convey a feeling of joy, vitality and openness to the in nite possibilities of existence, this is the reason why I have developed a personal technique to convey that speci c kind of energy,so my paintings are not just coloured canvasses but small spaceships: vehicles for a message that reaches those who observe them and lls the surroundings...
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Psychoanalytic Session 4.1.279 | Painting, Acrylic on Canvas | W:100 H:70 D:4 cm | 2019
Paola Santagostino. Psychic Abstraction Andrea Guerrer Art Critic
Paola Santagostino is a psychoanalyst specialized in psychosomatic medicine who in the last few years has decided to combine her profession with artistic production, to which she has systematically dedicated since her graduation in painting at the Academy of Fine Arts of Brera in 2017. Her interest is directed towards an abstract and expressionist research that makes physical automatism, intuition and emotion its inspiring principle with the aim of exploring the bonds between mind and body at the origin of physical and mental well-being. Passionate about art from a young age, she says she unexpectedly found painting again; thanks to the psychotherapy sessions with her patients: “As I hold a session, I follow the development of the session with drawing signs, I follow it by points and lines of connection and visualize it in an almost geometric way as a network of concepts. When the session is over, I throw away those sheets of paper, for me they have already served their function, but my patients ask to take them with them, they even go and retrieve them from the wastepaper basket, asking me to keep them to remember what we said and the thread of the session that we had”. Encouraged by these feedbacks, the artist decides to consider more seriously her natural predisposition for unconcious drawing and elaborates her personal expressive language starting from those signs born in an apparently so di erent context. Initially, she extrapolates from her extemporaneous notes those elliptical circles which, repeated and superimposed, it becomes the minimum units of her compositions and that owing on the canvas and intertwining each other, visualizes a real “ ow of thoughts”, a succession of graphic ideas that manifest a state of mind. The speed of execution granted by the acrylic painting and the impetuousness of the pictorial action enhances the primary role of the free creative drawing, understood as an immediate taking of the reality released from any intervention of cognitive and rational type. Obviously the reality referred to is the inner one of the artist, which derives from a complex amalgam of perceptions, moods and reactions to life events. The succession of canvases forms a sort of intimate diary that the universality of the pictorial language adopted makes archetypal and therefore easily introjectable by the viewer whom unconsciously adapts it to his/her own experience. This spontaneous graphical writing, an instant projection of a mental state, is interesting for its oxymoronic nature, capable of bringing together maximum impulsiveness with an extremely rigorous creative process.
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After choosing the color range to be used based on the chosen theme and the speci c symbolism of each color, Paola Santagostino lets instinct guide the dance of the brush on the canvas, as if her hand were a seismograph capable of capturing her inner vibrations. The gestural and lyrical abstraction that derives from the total bodily and emotional involvement transfers into painting the images and mental associations that ow from the unconscious without any mediation of reason: it is a physiological transmission that lays the foundations of empathy and subliminal understanding of the image. This method has many points of connection with the surrealist psychic automatism which, as AndrĂŠ Breton explained in the 1924 Manifesto, sought to express the real functioning of thought outside of any aesthetic and logical concern. It is no coincidence that Paola Santagostino names Thoughts as the visual situations identi ed by the ellipses, but her intent is in opposite with the protagonists of the historical avant-garde; it is no longer an aim for exploring the mysterious mechanisms of the unconscious but of using their mastery to depict; in an engaging way, the in nite possibilities of existence. The next step is to add together di erent Thoughts to sketch Discources, or compositions of primary and secondary abstract signs that t together to form more articulated constellations of meaning. Here the execution takes on an even more markedly performative character: Paola Santagostino listens to connect with the deepest part of herself, then with her eyes closed she begins to trace the marks on the canvas with her left hand, whose movement is guided by the right hemisphere of the brain, most implicated in emotional processes. Despite the apparent randomness of the execution, the image is almost always structured starting from a central axis, then developing through orthogonal lines and semicircular curves pushed outwards by centrifugal forces. The most pronounced central line indicates “the thread of discourseâ€? that connects the various concepts while the most subtle signs are the minor related topics and in the end, in very small but legible characters, the artist adds some words that stimulate the intellectual participation of the viewer.
Paola Santagostino
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Interval of Thought - Psychoanalytic Session 5.4.1210. Painting, Acrylic on Canvas W:100 H:70 D:4 cm 2019 Pa ola Sa nt a gost ino
I am a Psychoanalyst and when I hold a session I draw the mental maps of our dialogue: the symbols, the connections, the patterns that I see emerging. This painting belongs to a series, which represent the mental maps of‘true’ psychoanalytic sessions in which we spoke of "intervals of thought": those moments in which the continuous ow of customary thought is interrupted, allowing sudden intuitions to emerge, moments of absolute lucidity, silence, and true listening to oneself.
AW127987110
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Treasures of the Unconscious - Two Psychoanalytic Sessions Painting, Acrylic on Canvas W:100 H:150 D:4 cm 2019 Pa ola Sa nt a gost ino
I am a Psychoanalyst and when I hold a session I draw the mental maps of our dialogue: the symbols, the connections, the patterns that I see emerging. In this sessions we talked about the treasures that lie in the depths of our unconscious: true treasures of wisdom, intuition and absolute lucidity, treasures that we can recover: something emerges every night in our dreams, but we can also do "exploratory dives" through art. In the background I painted the cells, the physical basis of organic matter; above, the neurons that weave their dendrites creating synapses: the brain, the network of connections.
AW127316762
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Untitled Painting, Acrylic on Canvas W:30 H:40 cm 2018 Za hra Hooshya r
AW127980570
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Zahra Hooshyar Painting
Zahra Hooshyar was born in 1961 in Iran. She started her art career in art with winning the rst prize in painting in 1974 and continued it after immigrating to United Kingdom for 8 years. In 2015, she reconnected herself with art and nowadays actively pursue an art career in painting. Art Exhibitions 2020- Group Painting Exhibition of Iranian artists on December in London, United Kingdom 2019- Group Painting Exhibition of Iranian artists on December in London, United Kingdom 2019- Group Exhibition for Women International Day on 8 March, Hanover, Germany 2019- Group Painting Exhibition of Iranian artists on September in Hanover, Germany 2018- Solo Painting Exhibition in Nahavand Gallery, Tehran, Iran 2018- Painting Group Exhibition in Atashzad Gallery, Tehran, Iran 2018- Painting Group Exhibition in Zhinous Art Gallery, Tehran, Iran Other activities 2020- Art organizer for Iranian artists group exhibition on January in London, United Kingdom 2019- Art organizer for Iranian artists group exhibition on 26 September in Hanover, Germany. 2019- Art organizer for Iranian artists group exhibition on December in London, United Kingdom
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Untitled | Painting, Acrylic on Canvas | W:90 H:60 cm | 2018
Zahra Hooshyar: Landscapes of the soul Camilla Pappagallo Art Critic
I pursue a dream, I want the impossible. The other painters paint a bridge, a house, a boat and conclude. I want to paint the air in which the bridge, the house and the boat are located. The beauty of the air in which they are, and all this is nothing but the impossible. (Claude Monet) Painting is born from the inexhaustible amazement of the painter who lets herself be enchanted by the world: wonder seeks the essential, is an instant manifestation of being, dissolved by the consequential rhythm of existence. Nature has always been a privileged eld of investigation for those who work with color and its representation in contemporary art has long gone out of the canons of realism to embrace a wider eld of cues, motifs, and implications. By color, an artist is a demiurge, maker of new forms, molder of other worlds that are not those of reality and in this sense every vision immediately becomes creation. The Iranian artist, Zahra Hooshyar (1961. Lives and works in the UK) begins with her impressions of nature's fugitive objects and her observation of the most intangible phenomena, like light, air, re ection, condensation, shadow, to turn them into an inner dien plan in which the sense of vision melts into a variety, plunging into a single imaginary garden. Each painting appears to stem from the magni cation and blurring of a meteorological detail or texture that retains an astonishing camou age with the original while gaining an existential depth that is decoupled from the objective data. The painting is born in it as a deep need for direct contact with nature and translates not into the traditional landscape but a loving glance of life- lled things, into a yearning. In nity becomes light and color. The painting represents the place where the splendor of nature is welcomed, a space of beauty within which the world animates and nds its concordance, overcoming con icts, and disharmonies of real life.
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Color is understood as the language of the eye that perceives the world and recognizes its suggestive value that stimulates the imagination to enrich a dream and open new horizons to in nity and the unknown. For this reason, painting, while taking its cue from reality, is not a tool of description, but takes on spiritual value, as if the color were what comes before the de nitive distinction between subject and object, the original element still in contact with the mythical time of creation, able to unite rather than divide. Painting for Zahra Hooshyar (and as a re ection of her painting) means abandoning oneself to the immense stretch of space, immersing yourself in the birth uid, trying to reconcile and unite di erent realities to create a new entity, tenaciously chasing through the colorful, universal singing that has united time and space since its immemorial times. The diverse and profound spectacle of light, translated into color, instills in the natural reality the sense of the impossible that only painting can recreate within an apparent naturalism and gives visible form to the continual change of things that prevents the instant of crystallization. The artist, therefore, by transforming the splendor she perceives into the paint, has the power to unwind the world from appearances, to illuminate and illuminate the dark. The visible borders of objects do not stand up to this spring force that has come from a primitive time, before creation, and the senses, without distinction and priority, communicate with each other in unison to seek an inner shape or indissoluble born before anything else. If nature as it speaks to the eye never tires of dialog with all of our senses, even painting explores through color that original magma that is not only the ultimate vision but the ultimate evidence of synesthetic properties. Transforming perceived nature into painting, therefore, means nding that distant overwhelming harmony and recreating it on the canvas conveying in color perceptions normally appanage of other senses. In the paintings of Zahra Hooshyar, we, therefore, have a color that smells and resonates, a color able to come into direct contact with the origin, in the primordial instant from which our con guration and nature were born. The eye pairs with the color of the world, but the perception takes place in the space of the interior, where the invention overlaps with the description through the language, at the same time subjective and universal, of painting. In one of his letters, Paul Gauguin wrote: The color, so ambiguous in the sensations it o ers us, can only be employed in an ambiguous way every time it is necessary not to draw but to translate the musical emotions that are freed from its nature, from its mysterious and enigmatic center. The symbol creates by means of wise harmonies. Color in its vibrations captures the most universal, inde nite secret energy that exists in nature. Zahra Hooshyar's paintings could be called painting of essences, the triumph of a slow time owing through things, shapes and uni es them within the veil of silent light. Its total interpenetration with nature shows how reality and its re ection share the same time and inhabit the same space and how the duality between visible and invisible can be recomposed into a pulviscular dissolution of being in in nite particles. Everything we are used to seeing is sprouted in fascinating in orescences of light in which the instant and the eternal merge. The pictorial surface captures the mysterious jolt of life that manifests itself in the labile, in the indistinct, in the fugitive, reactivating the intensity of the mythical time that preceded us and that still constitutes our active and living essence.
Zahra Hooshyar
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Untitled Painting, Acrylic on Canvas W:40 H:50 cm 2019 Za hra Hooshya r
AW127714460
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Untitled Painting, Acrylic on Canvas W:60 H:60 cm 2018 Za hra Hooshya r
AW127087880
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The Mystery of Judas Installation W:200 H:300 D:100 cm 2015 Silvia Ma na zza
AW127508386
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Silvia Manazza Sculpture
Born in Rome in 1957, after completing the course in Graphics and Painting at the Civic Arts School of Visual Pavia, she perfected herself at the Image Center in Milan, with the artist Mario Raciti, and subsequently, after recognise her interests in sculpture, she frequented the Laboratory of Giuseppe Giannini in Pietrasanta where she learns the techniques of the mold, necessary for mergers in wax. She has been showcasing her art in exhibitions since 1995.
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Peppa Pig Installation, Modeling Sculpture Technique on Fabric W:100 H:160 D:70 cm 2017 Silvia Ma na zza
AW127539456
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One in a Thousand Installation, Modeling Sculpture Technique on Fabric W:60 H:150 D:60 cm 2016 Silvia Ma na zza
AW127225056
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One in a Thousand Installation, Modeling Sculpture Technique on Fabric W:60 H:150 D:60 cm 2016 Silvia Ma na zza
AW127225056
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Souvenir De Rome Installation, Modeling Sculpture Technique on Fabric W:60 H:150 D:60 cm 2015 Silvia Ma na zza
AW127995296
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Reckless... Under the City Light Painting, Oil Color on Canvas W:80 H:130 D:3 cm 2016 - 2018 Aşkın Akma n
AW127032902
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Askın Akman Painting
Born in 1964, Akman works and lives in Istanbul. After his graduation from the Mechanical Engineering department at METU, he was trained in the studio of Azerbaijani State Artist, honorary member of Russian Art Academy Associate Prof. Teymur Rzayev and started his painting education at the Fine Arts Faculty of Yeditepe University in 2013. Currently, he continues to work on his master’s thesis on “Figurative expressionism and portrait abstractions” with Prof. Ergin İNAN at the same university. Awards 2015- Nuri İyem Painting Competition, Istanbul-Turkey 2017- Exhibition Award Arte Laguna Prize 11th Edition 2016-2017, Venice-Italy 2017- Shortlisted Artist Biafarin, Honor Mentioned Award, Toronto -Canada Exhibitions 2018- Solo Exhibition "Untamable" Istanbul Gallery Miz, Istnabul, Turkey 2020- Solo Exhibition, Galeri Miz, Istanbul, Turkey
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Child Faerie Mixed Media, Oil Color, Collage on Wood, Burlap, Paper W:114 H:57 cm 2018 - 2019 Askın Akma n
Oil on coarse jute/burlap + gelatine + hand cut & hand riveted AW127127904
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Deep Blue Painting W:90 H:90 D:2 cm 2017 Aşkın Akma n
AW127170754
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Untitled Painting, Oil Color on Canvas W:90 H:90 D:3 cm 2019 Askın Akma n
AW127887010
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All Seasons Mixed Media, Oil Color, Collage on Wood, Burlap, Paper W:105 H:105 cm 2019 Askın Akma n
Oil on coarse jute/burlap (& wood & paper) + gelatine + hand cut & hand riveted AW127955968
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Braids Painting, Oil Color on Canvas W:80 H:120 cm 2019 Vikt oria Sa venkova
AW127678752
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Viktoria Savenkova Painting, Graphics
Viktoria Savenkova was born in 1979 in Gomel, Belarus. Her artistic journey began in childhood in an art studio and continued art school including college and the Academy of Art (Minsk, Belarus). After a period as an Art Director at the national lm studio "Belarus lm", she worked as a tattoo artist. In 2014 she went back to painting working primarily in large formats. Her work centers on psychological portraits, sensuous landscapes, gure studies in realistic style. She has participated in local and international exhibitions and competitions (Italy, Spain, United States) and been published in various catalogues. She is currently based in Minsk, Belarus.
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Yesterday, Today, Tomorrow Painting, Oil Color on Canvas W:60 H:30 cm 2019 Vikt oria Sa venkova
AW127981568
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Blue 1 Painting W:100 H:100 D:4 cm 2017 Vikt oria Sa venkova
AW127286984
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Ales Painting W:120 H:100 D:3 cm 2016 - 2017 Vikt oria Sa venkova
oil on canvas AW127390480
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Andrei Painting W:100 H:100 D:3 cm 2016 Vikt oria Sa venkova
oil on canvas AW127036616
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Single Man Drawing, Pen-Ink Drawing on Paper W:50 H:50 cm 2017 J a d El K houry
AW127855456
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OBSERVICA Issue# 3 - Summer 2019 biafarin.com/observica2019summer
Jad El Khoury Painting, Graphics, Photography, Sculpture
… I search the lines that draws your imagination … Born in Baabda 1988, Jad El Khoury is an artist and interior architect living and working in Lebanon. Through the media of pen and ink, and a desire of lines and colors, Jad gave birth to the – Potato Nose – An art creation of ctive characters oating freely throughout a composition and re ecting family, friends and surrounding as well as extending to people and places that he experienced during his travels, dreams and nightmares. Latest work was a series of art attacks on war damaged buildings in Beirut, as part of "WAR PEACE" project. His artwork has been exhibited throughout many magazines (National Post Canada - Republica Designboom, Al Jazeera...) and art exhibitions (Beirut Art Fair - Villa Audi - Cynthia Nouhra Art Gallery - 21,39 Jeddah - FA Gallery Kuwait - CAP Kuwait...) Jad has successfully completed his master degree in interior design eld at the IBA 2 (Lebanese University - Fine Arts). Aside he has undertaken internship, within his Interior architecture discipline studies, at di erent Architectural Design O ces (Soma, Blank, Hapsitus, Al Ghanim International...)
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Issue# 3 - Summer 2019 biafarin.com/observica2019summer
Nebula Drawing, Pen-Ink Drawing on Paper W:70 H:50 cm 2018 J a d El K houry
As people, we are de ned by our habits, rituals and traditions. These traditions tell their stories; where we come from, the countries we visit and the direction we are taking towards new horizons. We explore the heart of deeply symbolic practices that have been passed down from one family to the next, from one generation to another. My goal is to celebrate the diversity and connection of the people, while reminding the viewer of the most important connection, that of man with nature. The complex NEBULA form seen from a distance is only a gathering of simple organic lines creating random shapes.
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Issue# 3 - Summer 2019 biafarin.com/observica2019summer
War Peace Photography, Digital Photography on Paper W:150 H:64 D:2 cm 2016 - 2018 J a d El K houry
Even after more than 25 years to the end of the civil war in Lebanon, you can still encounter war traces on many buildings. “I didn’t live the brutality of war, but these chaotic battle traces gives me an idea of the barbarity that took place in my beloved city Beirut. For the old generation who witnessed this barbarism it’s time to move on at the same time for those who don’t know what is to be living in a wartime the traces should be preserved to give them an image of the craziness of the situation.” Therefore war peace project intend to highlight the bullet and missiles traces while adding to them funny characters.
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OBSERVICA
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Issue# 3 - Summer 2019 biafarin.com/observica2019summer
War Peace Photography, Digital Photography on Paper W:150 H:64 D:2 cm 2016 - 2018 J a d El K houry
Even after more than 25 years to the end of the civil war in Lebanon, you can still encounter war traces on many buildings. “I didn’t live the brutality of war, but these chaotic battle traces gives me an idea of the barbarity that took place in my beloved city Beirut." Therefore war peace project intend to highlight the bullet and missiles traces while adding to them funny characters that will deliver joy instead of bad memories. It’s time to move on and celebrate life and peace.
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OBSERVICA
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Issue# 3 - Summer 2019 biafarin.com/observica2019summer
War Peace Photography, Digital Photography on Paper W:150 H:64 D:2 cm 2016 J a d El K houry
I didn’t live the brutality of war, but these chaotic battle traces gives me an idea of the barbarity that took place in my beloved city Beirut. For the old generation who witnessed this barbarism it’s time to move on at the same time for those who don’t know what is to be living in a wartime the traces should be preserved to give them an image of the craziness of the situation. Therefore war peace project intend to highlight the bullet and missiles traces while adding to them funny characters that will deliver joy instead of bad memories. It’s time to move on and celebrate life and peace.
AW127759040
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OBSERVICA M a g a z i n e
Issue# 3 Summer 2019 August - 2019
biafarin.com/observica2019summer
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