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Ayline OlukmanNadia2022
2022
About the Item
In “Nadia”, French Painter and Photographer Ayline Olukman takes us on a road trip. Between fiction and reality, the road trip develops into an American intimate experience of a person and of her encounters along the way. A photographic portrait of a person and her emotional relationship to America emerges. The images are re-interpreted by the oil painting and we know we are far from the reality of the scenes. The collage, mixed media, piece evokes the feelings of freedom, the preciousness of each moment as meditation. In this piece there is the feeling of water, palm trees, a woman basking in her present moment full of wonder, the sensation of vacation.
Ayline captures images of travel that feel strangely familiar, and that seem to capture a moment suspended in time. She compares her paintings to stills from movies; constructing a scene for the viewer, only setting the tone, and inviting them to create their own personal narrative from her work. Ayline’s time on the road allows her to be completely free from boundaries, embracing the experiences on her journey. As she captures these adventures during her wanderings through her camera, she shares it with a reinterpretation on canvas with oil and the colors construct a completely new narrative.
The process of creating her work feels like her own movie. Ayline’s method of creating these pieces is similar to the technique of making a tapestry. The printed black and white photograph is affixed onto the canvas to create a second skin. Ayline prints her photographs, void of color, to add her own personality to the art. By painting in thin layers, she is able to add depth to the photograph. New colors emerge as she paints each layer; first a layer of blue, then yellow added on top creates a green. She also uses thick touches of oil paint to add in details to the photographs. This process is individually unique like Ayline herself, a traveller experiencing the joys and delights of life.
Ayline Olukman is widely exhibited in France, New York, Brussels, Basel, London, Gothenburg, Shanghai, Lisbon, and Istanbul. She has published 4 books based on photographs, texts, and paintings: Small Eternity (2012), America (2015), La Mue (2019), and Elysian Fields (2021). Originally from Strasbourg, France, it was in 2015 at Point B in Brooklyn where she had a residency and worked in New York until 2018. That year she was nominated as a Voies-Off finalist at the Rencontres de la photographie d’Arles and also participated in the residency of the International Art Center of Shangjin in China. In 2019, she won the Prize of the Verzasca Foto Festival (Switzerland). She was nominated by Freelens for the MentorPrize in 2021. This year, 2022, she has multiple exhibitions in Paris, Bordeaux, Lisbon and in June will be her solo show at Galerie l’Atelier in Chelsea, New York.
photography, oil paint, french art, landscape, water, female, journey, palm trees, pool, America, road trip, female, west coast, wonder, nostalgia, motel, vacation, happy, palm spring, spring valley, California, lifestyle, photography, oil painting, collage, mixed media, freedom, moment, meditative
- Creator:Ayline Olukman (French)
- Creation Year:2022
- Dimensions:Height: 31.5 in (80.01 cm)Width: 15.7 in (39.88 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU1566211399812
Ayline Olukman
Ayline Olukman is a multimedia artist whose work addresses the notion of intimacy, solitude and wandering, resulting in photography, painting, writing, etching and drawing. She was born in Strasbourg, France and graduated with an MFA from L'École des Arts Décoratifs de Strasbourg (ESAD) in 2005. "Maintaining my quest for wandering is a quest in itself. I have come to admit that the issue of displacement is central to my work. A non-place common to everyone. For a long time, in this relation to nostalgia, I was in the disenchantment of this time that nothing holds back. Then I realized I was wrong. The image is just an image but it has a real status; it exists by itself, which causes a certain imbalance. My study focuses on the process of creation itself, the search for meaning belonging to the world and to the body through memory.
The limit of the skin is an intimate and yet universal geography that is the red thread of my work, a game of putting in damage where the notion of scale or reality is lost.
I see my images: these inner/outer landscapes as the place where body and nature meet, negotiate their differences and similarities.
I think it’s important to stay in touch with the elements, the nature or the road, but also that we cannot clearly identify them. I need to encompass things without their limitations. The more I entered into the desire to understand myself, the more I became aware that I was part of a whole. The gaze is solicited in a continuous exchange between the outside and the inside, the reflection of the mirror is a hand extended to the viewer."
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