Eliane Saheurs

Organic XXII, Painting, Acrylic on Canvas

2023

Abstract landscape painting with rich warm color blending, contrast and rough edges details. Textured with many layers of gesso to prime the canvas then applied acrylic paint with sp...

"The Hustle" is a perfect example of Hunter's highly fluid, expressionistic style -- which so often results in arresting images with a sense of depth and sculptural form. Black and ...

Expressive modern abstract, bold full of life, gloss and shimmer! inspired by nature, many of bright tones combined with mica particles and iridescent drizzles over green teal. Ready...

"Falling Softly" is a perfect example of Hunter's highly fluid, expressionistic style -- which so often results in arresting images with a sense of depth and sculptural form. Black ...

Andy Moses: Recent Paintings is an excitingly ambitious new body of work, showcasing an artist fully engaged and at the height of his creative process. Blurring the line between abst...

color- original abstract acrylic painting. framed , Rafael (Barcelona 1956) While contemplating the painting of Ruz, we are inclined to talk about real ‘psychodrama’, in the same sen...

Step into the bustling streets of London with Borja Guijarro's evocative painting, "London People." This original cubist figurative cityscape captures the vibrant energy and timeless...

Since the 1940s, the Egyptian painter Hamed Abdalla is not only a visionary pioneer of modern art for the global south and Arab countries; he is also one of the first of his generation to envision painting as political art and activism. The current display focuses on a specific time of defeat and disillusion for a whole generation of Arab artists and intellectuals, in the aftermath of the “Six Days War” led by Israel and their allies (a war title which a lot of Arab activists consider propagandist, preferring to call it “The Defeat of 1967” or simply the “June 1967 War”). This persistent ideological wound became the symbol of failed dreams for the “Arab Nation” or Arab states alliances – including the short but emblematic Egyptian-Syrian achievement of the United Arab Republic. Another major failure, to which Abdalla will respond through the paintings on display here, is the Egyptian President Anwar Sadat program of “opening up” (Infitah) the Egyptian economy and give way to political compromise with the US and Israel – Abdalla assimilating this period to a vast state of Coma for all Arab people and territories. In a collective statement by a group of Egyptian artists exiled in Paris (including Abdalla), published in the Egyptian local journal Al-Dustur, on 5 December 1977, one can read: “This disaster is far greater than the defeat of June 1967. Rather, it approaches the scale of the disaster that took place in 1948 (…) To destroy the Arab people’s noble three decades-long struggle against imperialism and Zionism (…) Sadat is exploiting the stifling economic crisis that Egypt is currently facing (…) We must resist this betrayal of our nation or be crushed under the wheels of global imperialism for generations to come.” The works presented here reflect Abdalla’s transformation of the Hurrufiyyah aesthetics, to achieve his own way of “Arab Letterism”. It claims for a deeply experimental, non-decorative, politically committed and non-commercial use of the Arabic letter...