< Previous40 HarpersBazaarArabia.com/culture/art Spring 2020 experiences such as manipulating Arabic letters and geometric forms and adopting them into his works. From working in Beirut, Amman, Ramallah and Bethlehem to name a few, he has always enjoyed focusing on different periods and different things without making a complete switch from one to another. This time around, taking a small, if not intentional, leap from the geometric forms and bold colours which are considered his trademark, the Iraqi post-war and contemporary painter attempts to begin a silent dialogue with viewers, inviting them to look deeper and reassesses what they see through their intuitive mind and not their eyes. In a bid to explore new forms and through it, new dialogues, Athier is very clear about his newest work. “I want the viewer to get lost in these works - to second guess their own certainty. The title is almost an instruction card of how to look at the works: it’s big and bold and directional as you enter,” he says. Merging the two- dimensional with the three-dimensional, each piece of work explores a different state of existence. Moving between order and disorder and incorporating a play between the real and surreal, the exhibition which is befi ttingly titled Nothing is Certain, Everything is Melting, and that’s Okay, begins to make sense gradually. “There is a moment in between when things go up and things go down which is peaceful. This instant snapshot is what I’ve always been interested in,” explains Athier about this peculiar state of existence between order and disorder. By placing geometric blocks, marble slabs and rubble, squiggles, foams, plastic toys, curvilinear objects and patterned forms in a milieu that he’s partially designed and partially imagined, Athier creates spatially ambiguous scenes that signify something deeper than what appears to the naked eye. “For the last eight years or so, the word which people across the world have had forced into their ears has been ‘uncertainty’,” he explains. “Whether the impetus was the fi nancial crash of 2008, the Arab spring of 2011, the global climate crisis or the era of ‘alternative facts’ – the list is really endless – this word ‘uncertainty’ has slowly etched worry lines into all of our foreheads,” he expresses, and rightly so. Taking this reality to his atelier in the suburbs of Paris, Athier’s intention was to create a body of work that would validate the discord that existed beneath every surface, allowing it to be revealed and accepted in a form that was too hard to ignore and too impactful to forget. “Making these works was a way of surrendering to this inevitability and allowing it to exist. The fl oating serenity and the peaceful chaos are devices to fi nd a place of calm.” For someone who has been as fl uid in his life and career as the forms depicted in his art, Athier makes sure to stay true to his primary medium “I WANT THE VIEWER TO GET LOST IN THESE WORKS – TO SECOND GUESS THEIR OWN CERTAINTY” HBA_038_38-41_The Artist_Athier_11200739.indd 4011/03/2020 09:19:27 AM41 HarpersBazaarArabia.com/culture/art Spring 2020 which is painting even though he moves to use paint on raw linen for the larger works. Similarly, his current works too, embrace a fl uidity to the current theme of times, only to return to the core of his very own heart that never ceases to explore his relationship with Iraq. “Iraq has been many things in my work. Sometimes literal, sometimes conceptual. These works don’t reference Iraq in their content, but of course, that fl oating feeling very much encapsulates how I respond and feel about my country,” he says. Having returned to his hometown for the fi rst time in 30 years in September 2019, Athier never wanders too far from his roots even when he allows inspiration to take him to new levels of discovery. Featuring a number of works from his earlier series called All Things Come Apart, which serve as a prelude to his current series, the artist has been keen to take inspiration from early Italian surrealists who have not only impacted his thought, form and structure, but also his very intrepid style that engages the viewer at different levels. By using old photos of Jean Arp sculptures, one is forced to look deeper into every piece of work and redefi ne what has form and what is fl at – and this too, is intentionally inspired for good reason. “The Memphis movement (of the 1980’s) for me is a break away from nature, creating structures completely man-made and playful using bold colours and bold inorganic shapes,” says Athier. “My fascination with Italian painter Alberto Savinio is for much the same reason. Similar to his better-known brother Giorgio Di Cirico, he created works that were manifestations of complete scenes, partially based on reality, and partially existing as windows to the dreamlike subconscious mind. Formally, everything makes sense, in that none of the forms are abstracted: light, temperature and space all obey the rules of reality, but somehow nothing makes sense.” When compared to his recent exhibition Nothing is Certain, Everything is Melting, and that’s Okay, one is able to draw inferences to the tumultuous world of chaos and clutter seen through carefully curated compositions in which marble melts into plastic, which melts into water, which melts into metal. There is no hierarchy of form and the objects exist in a world that has no mass or gravity - meaning, there are no restrictions to what can be and what is. Talking about this dual existence of surrealism in the context of a reality with reference to the current times, Athier is able to bring about an expressive and alternative state of existence in his work. “Savinio was creating paintings at the birth of a new age of colour and materials, in the form of plastic toys and objects, which is how his work stays so vibrant and playful and [this is] what I try to echo through my works,” he explains. In an attempt to capture compositions that balance and eventually melt harmoniously in their state of transition, every piece of art in the recent series of work exists with an underlying message that can only be intercepted through the artist’s depiction of space. Best translated as a sweet surrender towards all that is defi nitely uncertain, the viewer is forced to question if it’s even important to be so rigid with perceptions of time, place and situation or if there is more harmony in the colourful chaos of life and all that it holds in every situation. athier.com ■ Nothing is Certain, Everything is Melting, and that’s Okay by Athier Mousawi is on show until 14 March at Ayyam Gallery, Dubai The ARTIST Left: An installation view of the exhibition at Ayyam Gallery; Below: Artist Athier Mousawi HBA_038_38-41_The Artist_Athier_11200739.indd 4111/03/2020 09:19:33 AM74 HarpersBazaarArabia.coma/art Spring 2018 Clotilde Jiménez. Always on Guard. 2020. Courtesy of the artist and Mariane Ibrahim Gallery 42 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_042-045_Artist_ClotoldeJimene_11239635.indd 4211/03/2020 02:15:47 PMHonolulu-born, visual artist Clotilde Jiménez grew up in North Philidelphia, in an environment where he was constantly faced with the struggle of choosing the right career path to pursue. “Philly can be a rough city,” explains Jiménez. “To stay out of trouble and to keep busy, I would either box in the gym or draw characters from my comic books.” As a child, he was distracted by much of the negativity prevalent in life however, determined to carve the right path for himself, he would often discuss his future, particularly with his mother. “She made it very clear to me that I had only a few options because of the way things were; stay in Philly and run the streets or use my artistic talent and get out of the city and receive a college education,” he recalls. In a quest to better his life, Jiménez followed his passions and applied for art school at the Cleveland Insititute of Art in 2008 and was, to his surprise, accepted. Since then, Jiménez has successfully exhibited at The Mennello Museum of American Art, Orlando; Phillips, New York; the Slade School of Fine Art, London; and the Jacob Lawrence Gallery, Seattle. Most recently the artist has moved to Mexico City, a place where he is discovering new inspirations daily. On view from 4 April until 30 May 2020, an exhibition held at Chicago-based Mariane Ibrahim Gallery entitled The Contest will reveal brand new works by Jiménez, marking his fi rst solo show with the gallery. “The Contest is a kind of exploration and diary of my time in the gym,” he explains. “It is about the intersections of athleticism and how it relates to me as a Black man and practitioner. A lot of my work is very personal and autobiographical but I think there exists a universal level of symbolism where people can enter the work and form their own experience based on the histories they bring to the table. It’s a kind of exchange.” Works of note by the artist such as Dem Boys (2019) Squat (2019) and Xóchitl Fights Back (2019), address various conceptions; particularly athleticism, Jiménez’s deeply personal relationship with his father which was once estranged, the underlying theme of race and the realities associated with being a Black male. The colourful ‘boxer’ and ‘bodybuilder’ seen in his works are indicative of early ideas surrounding limitations placed on the body, a topic which Jiménez explores in most of his pieces. “I think everyone’s body is politically charged and different depending on Humble beginnings The ARTIST North Philly-raised visual artist Clotilde Jiménez unravels the deepest corners of his imagination to physicality through art. Ayesha Shehmir speaks to the artist about paving the right path in life and his fi rst solo exhibition at Mariane Ibrahim Gallery Above: Artist Clotilde Jiménez 43 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_042-045_Artist_ClotoldeJimene_11239635.indd 4311/03/2020 02:15:54 PM44 HarpersBazaarArabia.com/culture/art Spring 2020 where and who they are,” he says. The artist’s love for the beauty of colour is evident in each of his works, and the marriage between the bright hues and hidden expressions exudes a type of melancholic joy. Ultimately, the artist hopes to reconstruct the societal idée fi xe of the Black body by celebrating the nuances of being Black, particularly in popular culture. While living in Brixton, South London in 2016 for three years, Jiménez joined a boxing gym in a quest to fulfi l his desire of body transformation. “However, I also was having new experiences that caused me to question gym life – from everything including locker room etiquette to the act of performing squats,” he explains. This has been the driving force behind the creation of Squat; the work is a way of documenting this experience and allowing his imagination to run free. On the other hand, Xóchitl Fights Back is a response to political injustices. “It’s about reclaiming power and doing what is necessary to survive and live a better life.” One of the main inspirations behind the artist’s work was realised when he moved to study art in London, coming to learn what it truly meant to be African-American. “But in between all of that there was an unhappiness brewing in my life,” he expresses. “It seemed the more I had grown intellectually, the further I moved away from the physical prowess I once had as a kid in Philadelphia.” Jiménez spent his nights initiating intellectual conversations on topics from gender to the latest exhibition at the Tate, however he couldn’t recall the last time he engaged in physical training. He admits, “the need and desire to re-enter the gym and bridge the gap between both worlds has been an inspiration for me.” The Contest exhibition will be home to large- scale collage works along with an installation of a brand new bronze sculpture comprising colourful boxing headgear. Reused materials such as wallpaper, clothing brand names, amate and magazine clippings have “ I W A N T TO B E A S T O R Y T ELLER F O R P E O P L E W H O LOO K L I K E M E – T H E PE O P L E WH O S E S T O R I E S H A V E B E E N MAR G I N A L I S E D AN D IG NOR E D ” C L O T IL D E JIMÉNEZ Clotilde Jimenez. I Had a Dream I Took an L. 2020. Mixed media collage on paper. 152.4x152.4cm. Courtesy of the artist and Mariane Ibrahim Gallery HBA_038_042-045_Artist_ClotoldeJimene_11239635.indd 4411/03/2020 02:16:02 PM45 HarpersBazaarArabia.com/culture/art Spring 2020 all been used to create the new works – a nod to popularised western culture and a representation of the changing perceptions of male beauty. “I use charcoal as a way to simplify and create a universal blackness that creates a hard Greco-Roman statuesque muscled fi gure that speaks to the objectifi cation of Black muscle and the body in general that I might experience,” he says. The artist physically cuts the materials and pieces them back together as a way of ‘reconstructing memories’. The main message the artist wants to portray to the world is simple and beautiful: “I want to be a storyteller for people who look like me,” he says. “The people whose stories have been marginalised and ignored. What I want to do is be the person that I needed when growing up – someone who depicts the complexities of Black life, what it means, and how it is okay. I aim to provide greater representation of my people within the art historical canon.” ■ clotildejimenez.art The contest is on show from 4 April until 30 May 2020 at Mariane Ibrahim, Chicago The ARTIST Clotilde Jimenez. Pose No. 4. 2020. Charcoal, collage and acrylic on paper. 149.9x162.6cm. Courtesy of the artist and Mariane Ibrahim Gallery IMA GES C OUR TES Y OF THE AR TIS T AND MARIANE IBRAHIM GALLER Y HBA_038_042-045_Artist_ClotoldeJimene_11239635.indd 4511/03/2020 02:16:10 PM The expressionistic brushstrokes of Dubai-based artist Rowaida Hakim are suggestive of several themes, but happiness and love are the two which the self-taught artist spreads the most with her contagious inner joy. Ayesha Shehmir unearths the literal hidden meanings behind the artist’s new nature-inspired works, which glisten with hundreds of precious diamond stones bindin g energ ies Photography by: Efraim Evidor HBA_038_46-53_The Artist_Ruwaida_11231925.indd 4611/03/2020 05:58:59 PMAbove: Rowaida Hakim. New Chapter 2020. Acrylic, gold leaf and diamonds on canvas The ARTIST HBA_038_46-53_The Artist_Ruwaida_11231925.indd 4711/03/2020 05:59:11 PMIMA GES C OUR TES Y OF THE AR TIS T e it residential buildings in the heart of Dubai or the beauty and mystery of the natural world, Lebanese artist Rowaida Hakim has been inspired by her sur- rounding landscapes since she was a little girl. She made her debut in Dubai with Golden Light, an exhibition which unveiled several of her works comprising 24k gold leaf, entitled Confetti, Dubai Nights, Flowers of Joy, Romance and The Secret City, to name a few. A testament to her ongoing desire to innovate, for her newest works the artist has incorpo- rated real diamond stones on canvas. Made with acrylic, precious diamond stones and gold leaf, New Chapter (2020) symbolises, as the name suggests, new beginnings. “I wanted to convey that everyone can start new,” expresses Hakim. “An unpleasant event is not the end of your life and every- thing has a positive meaning. Everyday is a new chapter in our life.” She adds with a humble smile, “everyone’s perception is different though and I leave it to the viewer to fi nd the meaning they want in my art.” The work, brimming with colour with each representing a dif- ferent emotion and moment in life, is complete with layer-upon-layer of bright pinks, greens, whites and blues, embellished with splashes of gold. “I use gold amongst the other colours in my painting, because for me, gold represents continuity,” she shares. “It is one of the metals which cannot be corroded at all with time.” The vivacious colours are housed within a black border, which is adorned with over a hundred diamond stones, depicting the essence of longevity, beauty, strength and positive energy. “Nothing can damage a diamond but itself, so the stone represents strength, amongst other things,” she explains. Other new works by Hakim graced with diamonds include Love Situation (2019) and Pyramid of Gems (2020). To achieve a seamless synergy between diamonds and art, the artist has avoided all use of glue – the stones are beautifully set in place directly on the wet paint. “The diamonds are at one with the paintings,” says the artist. Pyramid of Gems (2020), made with acrylic, 24k gold leaf and over 300 glistening diamond stones, is another work dear to the artist. “Pyramids for me have a rich and culturally mysterious element,” she says. “Even today, we are exploring and learning more from the pyramids.” The gems seen in the work are indicative of knowledge, history and the world’s mysteries. “I have a deep love and interest in Egyptian history.” The self-taught artist’s works have been exhibited globally including at the 25th edition of Art Shopping in Paris at Carrousel Du Louvre, which displayed an array of works from her previous and new collections such as Colour- ful Ideas (2019), Untitled Colours 1 & 2 (2019) and Rain of Grace (2018). Held in January this year and aptly entitled New Spirit, Hakim’s most recent exhibition was housed within her own gallery space and prestigious luxury design fi rm, Rowaida Interiors, in Jumeirah Lake Towers, and it marked the unveiling of her fi rst works in diamond. The show was home to several pieces, each with its own special message of optimism. “In almost every exhibition I have conducted, there has “A N UNPLE ASA NT EVENT IS NOT THE END OF YOUR LIFE A ND EVERYTHING H AS A POSITIVE ME A NING. EVERYDAY IS A NEW CH A PTER IN OUR LIFE .” IMA GES C OUR TES Y OF THE AR TIS T Rowaida Hakim. Pyramid of Gems 2020. Acrylic and 24-carat gold leaf with diamonds 48 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_46-53_The Artist_Ruwaida_11231925.indd 4811/03/2020 05:59:22 PM33 HarpersBazaarArabia.com/art Spring 2018 Rowaida Hakim with her latest work titled New Chapter. 2020. Acrylic, gold leaf and diamond stones on canvas The ARTIST 49 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_46-53_The Artist_Ruwaida_11231925.indd 4911/03/2020 06:00:34 PMNext >