Yazid Oulab presents his new solo show “La flamme germe” at SELMA FERIANI Gallery in Tunisia.<\/p>\n
Exhibition until 23 April 2022.<\/em><\/strong><\/p>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t In conversation with Yazid Oulab<\/p>\n A pictorial connection to learning<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n Growing up in the arms of his grandmother, the first vision Yazid Oulab opened his eyes to were the Amazigh symbols inked onto her skin. She was the cave and cradle that introduced him to this image in his early years. Having grown up surrounded by lines, dots and their intersections, his relationship to learning was quite complex but strongly pictorial and imaginative. The image was built and anchored in his retina long before he went to art school, which he joined at the age of twenty-two. And what if letters were indeed drawings? An \u00abA\u00bb could be a fish with a missing dot and the \u00abB\u00bb is the unison of two rings and a line.<\/p>\n His path was by no means random, defined from his maternal cradle, to the elementary school where he perceived form and geometry, to the school where he learned to draw and paint full time. He gave himself the means to drive his learning well from Algeria, Paris and then Luminy in Marseille; a rather familiar context for a person who grew up in the countryside with an eye that carries very far.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t Approaching the sphere, the cone and the cylinder<\/strong><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n As soon as Oulab arrived in France, he began to question concepts, to reflect on the poetics of things, on their primary and figurative meaning. He was asked the question \u00abhow do you express yourself through a tree?\u00bb. This was the starting<\/p>\n point of reflection upon where he comes from, his context and the beginning of everything. The answer holds genealogical roots that later become the foundation of his formal research.<\/p>\n Coming from a family that is both intellectual and working class, his upbringing joins together poetry and work. If he were to symbolize this with an image; then he has simply found the nail that brings writing and labor together. A link, an anchor and a fixture that allows him to hang on to the universal art history.<\/p>\n \u00abWhat is interesting about the nail is that it draws from the history of art and the energy of creation. Ce\u0301zanne, the father of modernity, thought that nature should be treated by the sphere, the cone and the cylinder. And if these objects were put into action; The sphere can inscribe the curve, the cylinder when laid draws a line and the cone when it turns draws a circle.\u00bb<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t From the line to the curve to the circle, Oulab thus draws from a pillar of his Arab-Muslim culture, the Koran that he considers as a literary and scientific reference. More specifically, he draws from a fundamental surah which begins with \u00abAlif, Lam, Mim\u00bb. These letters are outlined from the cone, the cylinder and the sphere, just like the nail. \u00abAnd if we contemplate all this, we would have understood everything. I only notice the forms and the gesture of the creators. What interests me is to always go towards the source and the beginning.\u00bb<\/p>\n To ponder the object in gesture and geometry; such was Oulab\u2019s approach to his works. He contemplates the gesture in the literalness, expressing and making an expression. These go hand in hand in his approach. Based on his culture which places importance on action and literature, he draws a link anchored by a nail of the cuneiform writing towards the gesture of the worker who builds with his tools where the tool itself is , object and subject of creation. From the hollow writing with a drill on a fragile paper or barbed wire tracing words, he blurs the use of rough materials in installations that draw up the relationship between the signifier and the signified.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t![\"\"](\"https:\/\/preprod.artforall.fr\/wp-content\/uploads\/2022\/03\/PYA2452.jpg\")
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