Galerie Claude Lemand

Nadia SAIKALI, Ferveur, 2005.
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Introduction by Joseph Tarrab.

– Among the expe­ri­enced vet­erans of the lebanese painting, Nadia Saïkali is very soon dis­tin­guished for her cap­turing more rad­i­caly than others the spirit of her time. She throws her­self into mul­tiple inno­va­tions including kinetic arts. Without her ever stop­ping exper­i­menting, she aban­dons the geo­met­rical and chro­matic rigour of painting com­bining occi­dental and ori­ental absrac­tion, to adopt a more sub­jec­tive way closer to the body and soul. A path that fol­lows with time subtle periods and inter­pre­ta­tions related to her "hand­prints".

– The recent oil paint­ings that Nadia Saïkali painted in Lebanon between 2000 and 2005, com­bine hap­pily a syn­thesis of "mental-land­scaping" and "soul-feeling", stable struc­tures, moving ele­ments, hor­i­zontal basis, diag­onal move­ments, solid stra­tums and liquid, layers. Shifting tec­tonic plates, sliding grounds, breaking waves allowed to be hemmed between limits defined by the static chro­matic upper and lower strips as if the tur­moil and the over­whelmed sur­face, the out­breaking events, the rising of long buried mem­o­ries, the his­tor­ical con­vul­sions dis­turbing lines, should remain con­fined within the short lasting period of the cen­tral area reg­is­tered between the long lasting periods of earth and sky. Lasting periods equaling Immobility.

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