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Lot Essay
Born in 1975 against the turbulent backdrop of the Lebanese Civil War (1975-1990), Ayman Baalbaki emerged from a childhood shrouded in socio-political conflict. His formative years were defined by the burdens of invasion, displacement, and destruction, casting a lingering and haunting shadow not only over Lebanon but also its broader context. Born into a lineage of artists that includes his father, Fawzi Baalbaki, and uncle Abdelhamid Baalbaki, Ayman Baalbaki channels the collective traumas of his generation—a result of nearly two decades of conflict in Lebanon—transforming them into a rich source of artistic inspiration.
Baalbaki's large-scale masterpieces harness the artist's firsthand experiences of life in a war-torn country, infusing vitality into the remnants of battered architectural structures in his homeland. Untitled (2009), a part of Baalbaki's ongoing series Contre-Jour (Against Daylight) since 2009, encapsulates the brutality of exodus—a sudden moment in time when war can shroud an entire nation in darkness. The present work extends Baalbaki's thematic exploration of deconstruction and abandonment as he vividly portrays the haunting image of a demolished, uninhabitable building. With a hyper-expressionistic style reminiscent of Neo-Expressionism, Baalbaki imbues the architectural scene with an extraordinary sense of anguish and torment. The painting not only captures the essence of Lebanon's post-conflict architecture but also transforms the demolished building into a powerful metaphor representing the nation and its people. Through his expressive application of thick layers of acrylic paint, each brushstroke creates depth and dimension where there was once a flat surface. Transcending a visual representation of the structure itself, the painting captures the voices of the once-inhabitants, the cries of those who suffered during the conflict, and the enduring traces of pain etched into the souls of survivors. The dominating composition of the building structure on the canvas underscores its importance, symbolising the collective consciousness of the Lebanese people. Baalbaki incorporates earthy and flesh tones, perhaps as a tribute to the human lives that once thrived within these walls, juxtaposed against dark blacks that fill the shadows of the building's voids. Subtle brushstrokes of blues and greens in the background hint at a glimmer of light, acceptance, and hope amid the wreckage. Through Untitled (2009) and other works in his series Contre-Jour, Baalbaki reveals the profound scars carved into the fabric of his nation, prompting contemplation of the enduring human toll exacted by conflict.
In addition to his evocative depictions of dismembered buildings, Baalbaki is celebrated for his iconic portraits of Al-Moulatham, adorned with the symbolic keffiyeh—a traditional headdress that evolved into a symbol of Palestinian resistance. His paintings of abandoned tires and soldier's helmets also contribute to his extensive body of work, weaving a compelling narrative that simultaneously recounts the artist’s personal history and that of his country while serving as a relatable expression for people globally who have endured the ravages of war.
Ayman Baalbaki embarked on his artistic journey by earning a Fine Arts diploma from the Lebanese Public University in Beirut in 1998. His passion for art led him to Paris in 2000, where he continued his education at Art et Espace within the École Nationale des Arts Décoratifs (ENSAD) until 2002. He obtained his D.E.A. in the art of images and contemporary art at Université Paris VIII from 2002 to 2003. During the summers of 2001 and 2002, he participated in the Ayloul Summer Academy in Amman, Jordan, under the mentorship of the esteemed Syrian modernist Marwan (1934-2016). Ayman Baalbaki's work has been widely exhibited internationally, including the 13th Cairo Biennale, the 54th Venice Biennale, and Institut du monde arabe, Paris amongst others.
Baalbaki's large-scale masterpieces harness the artist's firsthand experiences of life in a war-torn country, infusing vitality into the remnants of battered architectural structures in his homeland. Untitled (2009), a part of Baalbaki's ongoing series Contre-Jour (Against Daylight) since 2009, encapsulates the brutality of exodus—a sudden moment in time when war can shroud an entire nation in darkness. The present work extends Baalbaki's thematic exploration of deconstruction and abandonment as he vividly portrays the haunting image of a demolished, uninhabitable building. With a hyper-expressionistic style reminiscent of Neo-Expressionism, Baalbaki imbues the architectural scene with an extraordinary sense of anguish and torment. The painting not only captures the essence of Lebanon's post-conflict architecture but also transforms the demolished building into a powerful metaphor representing the nation and its people. Through his expressive application of thick layers of acrylic paint, each brushstroke creates depth and dimension where there was once a flat surface. Transcending a visual representation of the structure itself, the painting captures the voices of the once-inhabitants, the cries of those who suffered during the conflict, and the enduring traces of pain etched into the souls of survivors. The dominating composition of the building structure on the canvas underscores its importance, symbolising the collective consciousness of the Lebanese people. Baalbaki incorporates earthy and flesh tones, perhaps as a tribute to the human lives that once thrived within these walls, juxtaposed against dark blacks that fill the shadows of the building's voids. Subtle brushstrokes of blues and greens in the background hint at a glimmer of light, acceptance, and hope amid the wreckage. Through Untitled (2009) and other works in his series Contre-Jour, Baalbaki reveals the profound scars carved into the fabric of his nation, prompting contemplation of the enduring human toll exacted by conflict.
In addition to his evocative depictions of dismembered buildings, Baalbaki is celebrated for his iconic portraits of Al-Moulatham, adorned with the symbolic keffiyeh—a traditional headdress that evolved into a symbol of Palestinian resistance. His paintings of abandoned tires and soldier's helmets also contribute to his extensive body of work, weaving a compelling narrative that simultaneously recounts the artist’s personal history and that of his country while serving as a relatable expression for people globally who have endured the ravages of war.
Ayman Baalbaki embarked on his artistic journey by earning a Fine Arts diploma from the Lebanese Public University in Beirut in 1998. His passion for art led him to Paris in 2000, where he continued his education at Art et Espace within the École Nationale des Arts Décoratifs (ENSAD) until 2002. He obtained his D.E.A. in the art of images and contemporary art at Université Paris VIII from 2002 to 2003. During the summers of 2001 and 2002, he participated in the Ayloul Summer Academy in Amman, Jordan, under the mentorship of the esteemed Syrian modernist Marwan (1934-2016). Ayman Baalbaki's work has been widely exhibited internationally, including the 13th Cairo Biennale, the 54th Venice Biennale, and Institut du monde arabe, Paris amongst others.