” EPIPHYSM “
David Bloch Gallery, Marrakech. 2013
“Epyphism, Culture du langage universal” is the name I have chosen for this exhibition at David Bloch Gallery, in Marrakech. The epiphysis or the pineal gland was described by Descartes as the seat of the soul. Since forever, some also call it the third eye. It is the part of the brain that allows one to hear and speak the language of magic, so to wander beyond the laws of time, space, and matter. When activated, the frontier between visible and invisible may be unveiled. Let the journey begin!
In November 2012, I spent forty days in residence in the ryad of the David Bloch gallery. In the heart of a country that I have loved for a long time bearing the name of Morocco. I have had in this place the most profound periods of introspection of my life. I knew Marrakech for more than fifteen years ago. As some may know, my passage at the gates of Africa influenced my life path, my art too. Being there, I discovered other points of view. I felt that time could be an ally rather than an enemy. It is a place of great interest in terms of art, considering that the secular practice of geometry is resulting in an exceptional abstractive figuration, where circles are disguised as squares, where invisible curves take the appearance of straight lines, and volumes are made of the contrast of plains rather than in the shade. Thus, the whole gets hosted in the void, the Light in the color. I see a bridge between “the two worlds”. I heard the universal language of timelessness. Here is the resonance of its vibration.
The exhibition hosted 9 large scale canvas, 10 drawings of different sizes and techniques, 3 ceramic volumes, 2 metal sculptures, 1 light box, and an engraved metal sheet.
“Consciously or not, intuitive geometry is the structure of my expression, the aim of my research, both its means and results. Therefore, I naturally began to dig around our ancestral culture by focusing my attention on the Berber writings, creating the opus “The sower and the wheel”. A poem, made of 5 letters. Then I played with the numbers, giving birth to the work “Solar”, made of the first 7 numbers, associated with the planets of our solar system. Finally, I drew inspiration from the symbols and geometry specific to Islamic art. “Khamsa Sakina” or “CosmoKhamsa” are its fruits. I allowed myself to interpret “the hand of fatima”, which brings a sense of protection, peace and harmony. I also chose to write a sentence, “Knowing how to lose oneself in order to be able to find the self” using the know-how of ironworkers to perpetuate in metal the essence of an intention. Later, I returned to body language, taking it to an extreme simplification in the canvas “Amor Asi”. It is a couple, seating together, their individuality seem to fade away, sometimes merging into each other, giving the appearance of a united whole. The last painting I made is called “Fifth Dimensional Love Machine”. This is the only opus I have made knowingly using the Golden Ratio, also known as Phi. I drew a grid on the whole canvas, respecting the divine proportions. Like the Arabs, I wrote from the right, to the left. But I was drawing bodies of beings, not letters. Although each of their member is isolated, linked, they form a global universe. In the center of the work, two intertwined hearts merge, driving a system of movement.
Nothing disappears, it just mutates, only Movement is eternal.”