From October 15, 2022, the Moroccan artist-painter Naima Zmarrou exhibits her recent works at the Living 4 Art art gallery in Casablanca. The opening of this exhibition will take place on October 15 from 5 p.m. The visual artist, who lives and works in Kenitra, will unveil her recent works which display all her talent alongside 15 other artists under the theme “Looking through art”.
Largeness of gesture, strength of expression, the pictorial work of painter Naima Zmarrou leads us into an intense visual joy through her portraits, her landscapes and her resolutely poetic intimate universe. It is the proposal of a journey on foot in places that are familiar to us and that we take the time to look more deeply. Admittedly, she is inspired by dreamlike or phantasmagorical subjects, but her works nevertheless remain faithful to the reality of forms. His works confuse, question, release poetry.
Decidedly, the works of this self-taught visual artist, native of Oujda, landscape, figurative, suggestive, expressionist or abstract generate an interaction between matter and form. The material aesthetics of color, fluid, or scraped is the engine. We discover there the most diverse motives like symbolic governors. Prismatic effects emanate from radiant colors most of the time (green, blue, red, orange), sometimes romantic. The contrasts of grotesquely confronting patterns come together in the shimmer and brilliance of the swirl.
Naima’s favorite subjects were exterior scenes, but she also excelled in interior scenes and still lifes, especially drapery. She also excels in the representation of the horse which she considers the ideal symbol of abnegation, altruism, seriousness, confidence, patience. It shows a solid construction and a harmonious balance of colors.
Naima’s technical reflection is thus transformed into a quasi-spiritual meditation. Whether we like it or not, although she is always in research and experimentation, Naima remains faithful to her formal and chromatic vocabulary which signifies despite and beyond the finality she assigns to it. This means that admiring his works also means encountering sincerity and a certain conviction that do not leave us indifferent.
With Naima Zmarrou, this abstraction is expressed above all through a composition that generates meaning without referring directly to the concrete first of all. Then, by an idealization of forms and features that allow the representation of such and such a subject. By this, the subject is no longer a simple visual pretext, including the silhouette, but an allegory, an implicit pictorial discourse.
On the semiological level, Naima’s painting is not art brut, but a painting recaptured by the knowledge of its most fundamental elements. She then makes us travel through her works almost without saying a word, to make us discover the world as she feels, thinks, sees and perceives it. It draws on its own fertile ground of themes and subjects. It appeals to the imagination, its precious tool, giving it the leading role and allowing it to frolic in complete freedom and fantasy. She also trusts this rich substratum of varied materials which brood within him in the depths of his psyche.
It must be said that the work of this Arabic language teacher by training, states that the harmony of colors is based solely on coming into contact with the human soul and that this basis constitutes the principle of inner necessity: spirituality. .
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