|
|
our artists nufnuf-art news
|
|||
|
abraham hadad was born in 1937 in bagdad, Iraq. he made his studies at the academy of fine arts in tel aviv (1956-60/israel) and at the national high school of fine arts in paris (1965-70/france). the painter lives and works (he is a professor at the national high school of fine arts in paris) since 1965 in paris and st christol de rodières in france. you will observe that, under the sensitive appearance of abraham hadad’s paintings, he keeps marks of a patient labour or, on the contrary, a haste; what is the result, at it seems to you, of a measured calculation, and intentionally, is offered like a skid of the brush. You observe the marks of them on the surface of his paintings or drawings. that leads you perhaps to question yourself about the bond existing between the paintings and a painter’s life; between the picture itself and the behaviours which gave birth to it. You probably wonder how the artist controls the upsurge of it. no one does hold the key of the mystery of what we call "creation". we approach, however, a little more to the enigma when the artist speaks about his work, about his daily labour. abraham hadad speaks simply about it but with precision. he controls the questions of the "job", its techniques. he has a clear vision of what is at stake in his artistic work and of the results he can expect to get. sometimes, we are given a rough ride by our obsessions, by the days of our diurnal or night dreams. They may frighten us. abraham hadad’ s imagery, his imaginary obsessions and the way how he plays with it, often encourage the relief of our mind. they enable each of us to tame our own phantasms. when, in these paintings, appear monstrous beings, their resemblance to ourselves turn them into familiar characters. We are very close to hold out our hands and caress them. we have in our childhood irrational fears. it is not true that we can control them as we get older. they deeply remain in dark recesses. they make puffs of fear rise, later, coming from god knows where. the aspect of the monsters which peacefully cross abraham hadad’s pictures, enables us to approach them without trembling and then our fears become familiar as well. one discovers a relationship, not only of human figures between them, but between these figures as well, those of animals and the very shapes of things and places. the impression that all that has a common look, is due to constant formal features where the painter’s feelings deeply express themselves. it is due to the effects of a little granulose matter, vibrating under the eyes, that he draws from his handling of the coloured pastes as well of irregular scratching of the pen filled with ink. it is due to oppositions, so insistent that they deform appearances of bodies and things, between the angular and the curved lines. but, above all, what catches the eye before it examines these features which mark the artist’s style. thus everything communicates together, alive and dead, in the imaginary universe of this painter. we can see abraham hadad’s paintings passing by. the painter has made the effort to show them almost in the order where he conceived them. but curiosity has muddled this order. going from one thing to another, the eyes are getting it all mixed up. here, it is the actuality of a work that is displayed to us. actually, all these paintings are contemporary. rather than they form, between them, a temporal continuation, the whole is presented to us as bubbling. they spout up one after the other like spring water whose spring would be without beginning nor end. now we pay attention, not to the history of these paintings but to the lively force which takes us away in turn. marc le bot, extracted from the book "hadad le peintre" |
||||
|
last modification: 01 janvier 2012 webmaster@nufnuf-art.ch copyright © 2002-2012 art www.nufnuf-art.ch |
||||
