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Hope dyptique,
Circa 2022
by Quick Pen
Painting : ballpoint pen 50 x 100 x 3 cm 19.7 x 39.4 x 1.2 inch
$1,998
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About the artwork
Unique work
Hand-signed by artist
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About the seller
Galerie Art Génération • France
Artsper seller since 2016
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After graduating from the Higher Institute of Fine Arts in Tunis in 2010, Akram began to integrate the world of visual art professionally as a multidisciplinary artist, going from drawing to painting to story boards. up to installation and Street Art.
He participated in several individual and group exhibitions and managed to win several national prizes, which opened the doors to international events in Germany, Turkey, Algeria, Italy, France...
Akram is a populist artist, who wants to reach people in as many ways as possible and invite them to participate in his works. He wants to bring abandoned places to life and stimulate people's memories by relying on authenticity, a key element of his artistic research.
His research and composition always revolve around provocation and diversion. A means of communication that he chose to express himself, to criticize and free himself from the chains of daily life.
For him nothing is more powerful than an idea whose time has come and whose objective is to touch the sky, to give hope for a better future and to escape from A to Z.
Exhibition Z2 “Dystopia"
Apocalypsism
Adapting with the times, and the concerns afflicted on society by the problems of globalization, art has been transformed since the beginning of the 1900s. It therefore no longer simulates reality, it is rather at the service of its reality, of an art that aims to be new, free and liberating; hence the advent of contemporary art.
Today, post-covid period, the world weakened after the Corona pandemic has changed, and its vision of art too. Faced with a doubtful future, man now expects anything! We have moved from the stage of having the choice to break the restrictions and to simulate future prospects adapted to the standards of our imagination, to the stage of confronting a present which exceeds all the expectations we can imagine! The artist is therefore no longer master of his game, but the real pawn of this improbable reality...
Inspired to the point of obsession, I answer all the questions that cross my mind through this new work which translates my thoughts about things and what can happen. Poverty, pollution, wars and violence... are the eternal causes that I have always tried to raise, but with a new approach, this time more precise and in the image of my imaginary perception. »
I started by asking myself what is the point of dealing with the issue of pollution or violence, what is the point of putting one's fears on a simple square and flat painting...transforming my technique of artistic diversion into a real diversion of destination ; until it became my main subject. I did not use symbols but in a more correct way I was symbolizing, that is to say I sought to create new symbols in an aesthetic sense. My eyes serving my mind, dictate to my hands a simplified technique; clarifying things as I see them The scenes therefore pass through an external medium in which the drawing is not absent, and the characters are clearly present. I played on fullness and emptiness of which emptiness becomes the subject, I denounce the cynicism and decadence of society with striking drawings; expressive and surreal, it is certainly a reflection of the images of a shared social experience. Assassin's Ave L'Wart and Orabehi Trades me an Arab death,
Starting from the Corona, a disaster which generated many other important social problems which have remained until today the favorite subject of several visual artists, I found myself faced with a delicate plastic treatment, from the country where I come from to the country in which I live. Each painting has a perception and a vision, each painting has its dimension and its reading.
As for the idea, it's the same thing, and it's how do we understand our reality after Corona? How can we interpret a painting that simulates things that we are used to considering imaginary. The child carried by the father facing a wall. Who is important in painting? Should we focus on the human element in our painting or the exterior? Space? Can we question ourselves again about our reading and understanding of works of art to be able to deduce the order of importance?
Is the girl looking at the flying saucer a fantasy? Or should we instead focus on the girl and her smile? Where am I ? unconfined? Outside ? To outer space who ruined the most important? Are we going to focus on everything that is eating away at us? I mean in the structure and color and all the components of my painting? When the artist stands in front of a wall and paints, is the artist speaking from his own depth or is he making a self-reproduction representing himself as part of the problem? Is he saying that sharing the painting is based on observing the artist's perception? Is this part of the paint and does it lighten as it is treated. Is his choice of explicit symbolism a distress call heralding the apocalypse? Is the presence of children in certain paintings a form of representation of the fear for future generations of a future which only holds pollution, poverty, pandemic, social networks and natural disasters? Or will they be devoured by technological development long before any of this happens?
These are all the concerns and the search for answers to which I sought deep within myself to answer by drawing on canvases without emitting prejudices or clear answers; a translation of the glimmers of obsession of an artist that I wanted to share with everyone. To share with you all, my vision of the world, the reality that I see.
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Quick Pen
Hope dyptique, 2022
Painting
$1,998
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