.jpg?w=1)
Lot Essay
Originally from Hama, Syria, Safwan Dahoul is one of the leading contemporary Syrian artists of the Arab world. He graduated from the Faculty of Fine Arts in Damascus in 1983 and several years later, received a doctorate from the Higher Institute of Plastic Arts in Mons, Belgium. Dahoul returned to Syria to teach and mentor young artists studying at the Faculty of Fine Arts.
Dahoul’s ongoing “Dream” series is undoubtedly one of the most renowned bodies of work found in the contemporary Arab art sphere. Since the 1980s, he has used this series as a platform to share his experiences and thoughts on how dreams have influenced him, specifically his artmaking process. Dahoul’s canvases capture key intimate moments that one may experience during different phases in life: slumber, friendship, isolation and mourning. The repeated female protagonist adds to this visceral experience primarily through her distorted body and deep eyes. However, one must not assume that this figure represents gender as Dahoul explained in an interview with Nyree Barrett, but instead that she “represent[s] humankind...” He also disclosed that initially the female figure was inspired by a woman who he had “an impossible love story with” when he was younger. Nevertheless, as time progressed, she transformed into something more, almost like a narrator of his life. Dahoul has also begun to draw parallels between the female figure and his wife who passed away a few years back. However, there is not a definite answer regarding her identity.
The female figure portrayed in Dream 26 is similar to the one seen in the rest of the series. However, unlike other paintings that depict the full body, this one illustrates the face only. The shape of the woman’s face, one that is neither entirely circular nor oval, fills the entire canvas with the exception of a flat background on either side framing her face in the center. The word zen comes to mind when describing expression of the face. Dahoul’s palette is largely monochrome, exploring white, grey and black. The darker shades in particular, used in the shadows, facilitate in evoking a strong sense of depth and three-dimensionality to the face. This is clearly evident in the areas under the eyebrows, nose and sides of the cheeks.
Dahoul’s ongoing “Dream” series is undoubtedly one of the most renowned bodies of work found in the contemporary Arab art sphere. Since the 1980s, he has used this series as a platform to share his experiences and thoughts on how dreams have influenced him, specifically his artmaking process. Dahoul’s canvases capture key intimate moments that one may experience during different phases in life: slumber, friendship, isolation and mourning. The repeated female protagonist adds to this visceral experience primarily through her distorted body and deep eyes. However, one must not assume that this figure represents gender as Dahoul explained in an interview with Nyree Barrett, but instead that she “represent[s] humankind...” He also disclosed that initially the female figure was inspired by a woman who he had “an impossible love story with” when he was younger. Nevertheless, as time progressed, she transformed into something more, almost like a narrator of his life. Dahoul has also begun to draw parallels between the female figure and his wife who passed away a few years back. However, there is not a definite answer regarding her identity.
The female figure portrayed in Dream 26 is similar to the one seen in the rest of the series. However, unlike other paintings that depict the full body, this one illustrates the face only. The shape of the woman’s face, one that is neither entirely circular nor oval, fills the entire canvas with the exception of a flat background on either side framing her face in the center. The word zen comes to mind when describing expression of the face. Dahoul’s palette is largely monochrome, exploring white, grey and black. The darker shades in particular, used in the shadows, facilitate in evoking a strong sense of depth and three-dimensionality to the face. This is clearly evident in the areas under the eyebrows, nose and sides of the cheeks.