.jpg?w=1)
.jpg?w=1)
Lot Essay
Created in 1984, Farid Belkahia's Force Invisible (Invisible Force) showcases the artist's distinct dye on skin technique, epitomizing his modern take on Moroccan artisanal traditions. In Force Invisible, Belkahia introduces a winding brown line that crafts a silhouette set against a deep blue backdrop, stretching above a dark triangle originating from the tapered base. This intertwined structure, reminiscent of a bodily shape, is bordered by guiding lines. These lines originate or culminate at the ends of two arrow-like figures on the upper-left and centre-right sections, reminiscent of hands. Drawing inspiration from the Amazigh symbol lexicon, patterns, and materials, this piece channels the essence of ethereal energy or an "invisible force." The artwork's layout, marked by spirals and curved motifs synonymous with Belkahia's signature style, contemplates the fluidity of human and landscape shapes, highlighting the delicate links between unseen realms and all living entities.
Belkahia earned recognition for his exceptional skill in using skin, a shift from traditional oil painting in the early 1960s. Firmly rooted in Moroccan historical and cultural ethos, he crafted organic patterns using paints derived from natural dyes. This approach resonates with his belief, 'Tradition is man's future.' The significance of Belkahia's approach in developing an abstract art language cannot be overstated. As noted by S. Reilly in Apollo Magazine, 22 July 2019, his artistry presents a captivating duality as he attempts to reimagine Morocco's vast artistic legacy. By introducing enhanced texture and depth, he integrated organic forms, Tifinagh letters, and motifs drawn from Moroccan fabrics and architectural designs. His innovative combinations of materials and styles led to the production of abstract pieces, striking a balance between flat artworks and three-dimensional sculptures.
Belkahia began his artistic endeavors at fifteen when he held his first exhibition in Marrakech in 1953. In the subsequent years, he traveled widely across Europe and the Middle East and embarked on his academic journey by enrolling at the École des Beaux-Arts in Paris in 1955. He learned scenography at the Theatre Academy in Prague after his studies of modern European art in Paris. Upon his return to Marrakech, Belkahia became a prominent figure in Moroccan modernist art. Championing the reformulation of pre-colonial multicultural and popular arts, he directed the School of Fine Arts of Casablanca from 1962 to 1974 and formed a collective that shared his vision. This group included artists like Mohamed Melehi and Mohamed Chabâa and art historians Toni Maraini and Bert Flint. These influential figures had previously been part of vibrant artistic circles in Europe and North America and were exposed to the principles of the Bauhaus movement. Together, they pioneered an innovative approach to education, transforming the school into a hub for modern artistic expression deeply rooted in local Arab-African and Mediterranean culture, free from ideological confinement, and open to global influences.
Belkahia earned recognition for his exceptional skill in using skin, a shift from traditional oil painting in the early 1960s. Firmly rooted in Moroccan historical and cultural ethos, he crafted organic patterns using paints derived from natural dyes. This approach resonates with his belief, 'Tradition is man's future.' The significance of Belkahia's approach in developing an abstract art language cannot be overstated. As noted by S. Reilly in Apollo Magazine, 22 July 2019, his artistry presents a captivating duality as he attempts to reimagine Morocco's vast artistic legacy. By introducing enhanced texture and depth, he integrated organic forms, Tifinagh letters, and motifs drawn from Moroccan fabrics and architectural designs. His innovative combinations of materials and styles led to the production of abstract pieces, striking a balance between flat artworks and three-dimensional sculptures.
Belkahia began his artistic endeavors at fifteen when he held his first exhibition in Marrakech in 1953. In the subsequent years, he traveled widely across Europe and the Middle East and embarked on his academic journey by enrolling at the École des Beaux-Arts in Paris in 1955. He learned scenography at the Theatre Academy in Prague after his studies of modern European art in Paris. Upon his return to Marrakech, Belkahia became a prominent figure in Moroccan modernist art. Championing the reformulation of pre-colonial multicultural and popular arts, he directed the School of Fine Arts of Casablanca from 1962 to 1974 and formed a collective that shared his vision. This group included artists like Mohamed Melehi and Mohamed Chabâa and art historians Toni Maraini and Bert Flint. These influential figures had previously been part of vibrant artistic circles in Europe and North America and were exposed to the principles of the Bauhaus movement. Together, they pioneered an innovative approach to education, transforming the school into a hub for modern artistic expression deeply rooted in local Arab-African and Mediterranean culture, free from ideological confinement, and open to global influences.