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拍品專文
Safwan Dahoul's works from the early 1990s are often associated with romanticism, iconography and reveal his use of deep blue tonalities and a soft palette of captivating hues. After the passing of his beloved wife Nawar, the colours used by Dahoul somehow faded, evidently revealing his own sentiments.
Recognised and celebrated for his depictions of empty cafés - spaces that resemble private cosmoses by the silence that they evoke - Dahoul often depicts a single figure or sometimes a couple like in the present work. Their posture and expressions suggest a close and intimate relationship, as the man gently holds his lover. This serene embrace becomes a metaphor to the artist's inner observation about himself and feelings of love.
The present lot, a charming example from the artist's Blue period, depicts two loving, yet solitaire, figures amidst mundane objects of everyday life, such as empty cups, chairs and tables that are scattered throughout and suggest traces of earlier visitors and a chaotic ambiance. The table, in the upper part of the composition, seems imposing and is beautifully lit like a theatre stage. Aesthetically, Dahoul purposely defines the carved wooden lines of the chairs as if to replicate the lovers' embrace. The couple, seated in the corner, observes the chaotic scene in front of their eyes. The woman's head is bowed and although she is warmly embraced by her lover, she seems to be longing for another reality, feeling somehow nostalgic and dreamy.
Recognised and celebrated for his depictions of empty cafés - spaces that resemble private cosmoses by the silence that they evoke - Dahoul often depicts a single figure or sometimes a couple like in the present work. Their posture and expressions suggest a close and intimate relationship, as the man gently holds his lover. This serene embrace becomes a metaphor to the artist's inner observation about himself and feelings of love.
The present lot, a charming example from the artist's Blue period, depicts two loving, yet solitaire, figures amidst mundane objects of everyday life, such as empty cups, chairs and tables that are scattered throughout and suggest traces of earlier visitors and a chaotic ambiance. The table, in the upper part of the composition, seems imposing and is beautifully lit like a theatre stage. Aesthetically, Dahoul purposely defines the carved wooden lines of the chairs as if to replicate the lovers' embrace. The couple, seated in the corner, observes the chaotic scene in front of their eyes. The woman's head is bowed and although she is warmly embraced by her lover, she seems to be longing for another reality, feeling somehow nostalgic and dreamy.