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Painting, Acrylic on Paper
Size: 11.8 W x 15.7 H x 0.4 D in
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'Harar Impressions 2' is part of a new series of paintings on Hahnemühle Acryl Paper 330 g. 30x40 cm / 11,81x15,74 in *Ships not framed. *Back from a trip to Ethiopia in Harar, in the footsteps of Arthur Rimbaud, in the city where he spent the last years of his life, I was fascinated by the old town with its harmoniously colored walls, by the Ahmaric alphabet, the materials of the facades, and the atmosphere that the poet must have also felt, so time seems to have stopped. This work tries to translate the memories I keep of this historic and inspiring place. *De retour d'un voyage en Ethiopie à Harar, sur les traces d'Arthur Rimbaud, dans la ville où il a passé les dernières années de sa vie, j'ai été fascinée par la vieille ville aux murs harmonieusement colorés, par l'alphabet ahmarique, les matières des façades, et l'ambiance que le poête à dû également ressentir, tellement le temps semble s'être arrété. Cette œuvre essaie de traduire les souvenirs que je garde de ce lieu historique et inspirant.
Painting:Acrylic on Paper
Size:11.8 W x 15.7 H x 0.4 D in
Ready to Hang:No
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
The work of Marijah Bac Cam questions the Memory of the Living through the Languages of the Feminine Principle (creative principle of Nature) by means of drawing, painting and increasingly photography and video. What does this chaos of fullness and emptiness mean, enhanced with dots, curves, golden wefts and gestural writing? In the artist's painting we perceive a Living being organized before our eyes, starting with the diffusion of black ink. These dark masses mingle with another color to symbolize the different elements, air, water, fire, earth, ether. Suddenly an organic mesh forms on the surface, connected to the misty depth. It is a question of reversal, as if to lead our gaze towards an inner world, that of the organs, tissues, vessels of an unrepresented body. These drawings express more sensibly an intuitive word in a vegetal and vibratory atmosphere that are our buried memories. They are the representation of the original past in a form that is no longer mental but metaphorical. Graffiti sometimes float here and there, like a palimpsest as if to inscribe a forgotten verbal dimension and question the meaning of forms. Her work evokes images that are almost figurative but difficult to identify. It's a question of everyone's point of view, seen from the sky or underwater, in macro or even in a wide shot. This collective memory seems to define and tell terrestrial and extra-terrestrial landscapes. Does Nature have a universal language that hides in our memory?
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