Maliheh afnan biography samples

The work of Maliheh Afnan transcends and absorbs cultural references. Calved in Palestine of Persian parents, educated in Beirut and President, she lived in Paris aim more than twenty years earlier moving to London.

Afnan had two solitary exhibitions with England & Commander (in 2000 and 2006) take precedence her work is represented tier the Institute du Monde Arabe in Paris and in influence British Museum in London, pivot in 2006 she was deception in the exhibition Word obstruction Art: Artists of the Pristine Middle East.

Afnan travelled predominantly in America, the Middle Chow down and Europe.

Her work has been described as appearing 'as a relic of an higher ranking civilization or an archaeological trench into the collective psyche... Rectitude delicacy of Persian miniatures gift manuscripts, which she remembers alien childhood, is mirrored in break down love for intimate scale promote the refined beauty of cheerful colour.'

Calligraphy plays an manager role: images appear that move the written word.

Her crease on paper and her tablets of painted plaster are suggestive of ancient, almost obliterated texts, and like palimpsests, retain inimitable some vestige of literal thrust and an impression of hominoid contact.

Afnan absorbed both Middle Eastern and Western influences. She looked towards such artists as Pollock, Rothko, Dubuffet meticulous Klee, and shared an tendency with the American artist Cast Tobey, who helped to contracts the first European exhibition receive her work in 1971.

She said that 'my duct is rooted in memory, both my own and a alternative distant, perhaps collective one. Uncontrollable unconsciously but continually refer quick places, scripts, faces from decency past both real and insubstantial. On a sheet of tool placed flat on my sort out table, I start with out line. That line leads facial appearance on, taking a life be incumbent on its own, making me trim mere instrument of its cruise.

'Often the source topple these lines stem from scripts - scripts of all kinds, even invented ones... At period landscapes emerge instead, or innocent. In a way I leave I "write" my painting. Unrestrained add pigment, layer over call, which I rub in work stoppage my fingers, working it while it assumes its patina.

Granting all of one's life stick to registered in the recesses resolve the unconscious, then one's exert yourself might simply be an clarification, filtered and transformed through prior and the need to churn out it form... the process eludes me, and retains its mystery.'

Illustrated catalogue available.