Olfa Chabchoub

Olfa Chabchoub gives free rein in her painting to the direct expression of individual emotion. A freedom of plastic language reflecting and translating his personality, his tastes, his way of understanding the world.

It follows that his approach derives from an improvisation which now governs almost all of his creation.

The notions of premeditation and reference to a model are definitely banned. She paints her emotions to give an interior vision, a gestural and colorful expression of her aura.

As a result, the artist tries to eliminate any attempt to signify in order to place the viewer in front of the presence, the immediate emergence of what is standing there, a dialectic operates between the work and the viewer.

This desire of the artist to escape the beaten track, even the power of meaning, in other words to the reduction of the canvas to its value of signs, causes the work to make him do what it does. wants. As if the canvas were running in itself under the artist's eyes. The fact is that it is all the more guided by "the work being done" than by the deliberate will of the artist. Thus painting in this sense has no referent other than itself.

Etienne Souriau describes the work as "a monster to be fed". The work makes us do what it wants, sometimes domineering sometimes docile, it manages not without difficulty to see the light of the day thus braving the time, where it is only a question of a flirtation between the viewer and his own existence.

Olfa chabchoub works in an intuitive, inductive way coming from within oneself. She does not start with a preconceived composition but rather with the idea of the contrast of two or more colors and little by little balances the whole by a gradual, intuitive process which leads the work from the inside to the outside.

Like any artist grappling with matter, she knows that a particular matter releases a potential that we can call “effectological" in the sense that it gives “certain effects". Without explicit intention or final representation, it accompanies the process of highlighting the work in its own logic, although it creates series of official works and named as such, the latter giving birth to the same vocabulary.

The dominance of blue and its nuances evoke in the artist's painting on the one hand serenity, wisdom and on the other hand dreams. Gray, on the other hand, is the result of modernity, with an avant-garde side that it claims by gracefully highlighting it with finesse and elegance, combined with shades of pink, it affirms its neutrality and presence. Other colors are added to the paintings of Olfa Chabchoub so that their petals are offered timidly but surely to mankind.

Olfa Chabchoub's paintings are like the breeze that caresses and spreads over the canvas in a field of colors producing a lyrical symphony.

At this stage, the work acquires a certain mystery, a certain power blown by the soul of the artist.

Olfa Chabchoub now paints her mirror, her double, to each his reading.

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