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Farid Izemmour
SWITZERLAND
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“I do not proclaim myself a creator, I just try to convey my sensitivity with codes of these codes that are inherent in me.”
Born on 24 September 1961 in Algiers, Farid discovered his attraction to drawing at the Hamia High School. His obvious talent did not go unnoticed, and in 1978 his teacher enrolled him at the School of Fine Arts in Algiers. This becomes the first milestone on the path to revelation of the future artist. However, Farid does not just seek self-actualisation in art, he needs something more: to find his calling. The pure abstraction of artistic studies is not enough to coexist with a huge changing reality. Reluctant to follow the preconceived schema of study, Farid instinctively launches into the health field, driven by the desire to be useful, to take his place in this world.
Traces_103 " the women's of Algiers in their apartment" | Acrylic
$6,669
51 X 74
This work is inspired by Eugène de La Croix's masterpiece "les femmes d'alger dans leurs appartements",
This work is based on the principle of the structure of the golden ratio, where I worked on the relationship of the bending of the knees in an anatomical version, as I am currently dealing with our relationship with surgical prosthetics in this project.
Indeed I did not want it to be of an anatomical or figurative appearance, this gave me more material for reflection on the treatment of the
Freshly graduated with an instrumentalist license, Farid flew to Switzerland in 1990 following popular unrest in his native country where he feared he could no longer apply his philosophy of life. He became a Swiss citizen in 1993. Farid quickly regained his taste for painting and created an amalgamation of works that emerged between 1991 and 1994. These works are the fruit of an intense search for his own style. Having touched classicism, expressionism and Dadaism, Farid finally recognises himself in abstraction. Calligraphy accompanied Farid throughout his creative journey and eventually became his specialty, forging his evocative and daring style and unique method. With 30 years of experience, Farid continues to explore this ancestral art to this day, breathing new life into canonical forms and transmuting them through explorations of lines and textures.
Traces_101 " Radius" | Acrylic
$6,669
51 X 74
Today I am starting a new project: It is based on our relationship with an implant, the scar, this prosthesis which is becoming more and more integrated, this approach has been the fruit of a long reflection on prosthetic surgery as I come from this field, in particular orthopaedics and traumatology. My main focus has always been on the same artistic expression, the figurative one, but in vain it has taken me more than a decade to explore new horizons on the communication of the work and the cod
The letter is like a currency created for communication, it is the source of all pleasure or passion. Any fragment of reality is, in fact, a Copy: it is the principle of the construction of fractals. The same is true for the letter. Linguistically, it changes tone, speed, and emotion by integrating it with other letters which ultimately shape a Syntax. The letter is composed of a code, a law, and a form to create individuality or, through a collection of letters, to evoke the experience of various events generated by the writer. The letter can speak for itself: the tree structure and branching lead to evolution and expansion. It is as if the letter wants to participate in this new form of human communication and begins to take a new twist in contemporary futuristic tools.
“My approach is a kind of singularity; my works are coded posters based on Communication.”
The branched structures of blood vessels or pulmonary lobes may recall the fractal shapes generated by the phenomenon of aggregation accompanying limited diffusion. The letter is still present in the scientific, literary field and in other contemporary sign systems. Will it transform itself through the ages and take on another form and another meaning? History has taught us that YES. The main subject of his work is always the letter, as he perceives it; it is not a syntax but a search for form under the aegis of deterministic and hazardous laws, and a standoff between order and disorder as we understand them. All their obvious confrontation and their hidden interaction is perceptible in my paintings.
Traces_94 " Rings Of Memories II" | Acrylic
$12,000
51 X 82
Traces_94, was a continuation of the previous painting Traces_90, it completes my artistic approach to the subject of memory.
Traces_94, was a continuation of the previous painting Traces_90, it completes my artistic approach to the subject of memory.
Traces 90 " Rings Of Memory ",Traces_90, was an old project in my mind after some years spent I decided to execute it, arrived to maturity, I proceeded to its Execution; a big work site, put on the ground, the working position was not comfortable I had to make short poses because of the drying of the paint and other factors and to avoid breaking my back..... but it was a happiness to live different steps as a ladder to get to the end, a real lesson of patience and isolation, a monologue transfer
Traces_90 " Rings Of Memories I" | Acrylic
$18,000
51 X 82
In 1994-1995, he started with the series of 30 Paintings, 50 x 70 cm, ink, and acrylic on paper, which, to my great surprise, were a success. This series marked a turning point in his research and encouraged him to go further and experiment more with lines and textures. He has always been fascinated by the dynamic transformation of forms. The series of 30 Paintings became his debut as the self-taught painter that he is in his vision of art and calligraphy in general. This series includes 12 paintings of 126 x 106 cm, ink, and acrylic on canvas. He embodied his understanding and vision of the fractal as a geometric structure and concept of countless reflections of form. In creating these works, he acted not only as an artist, but as a researcher.
“The adaptation of the letter is not unknown; it can find a place in all fields. I defined it as ‘fractal’ because it is based on a linguistic symbol which makes no sense, being isolated. So, I ask myself questions: is the letter not taking another form, accepting another status? Is not fighting the literary writing of traditional books a concern?”
“I debated the subject of fractals out of fascination with this incomprehensible science which nevertheless reveals our way of life, our behaviour in the face of order and chaos.”
In the series of paintings, he tried to expose the collision of certainty and chance, a collision that not only destroys, but also generates. It is a kind of rupture in the fabric of reality, which produces new forms and new signs. The very term "fractal" implies a rupture, a fragmentation. A fractal figure is in first approximation a curve, a surface, a volume of irregular or fragmented shape which is created by following deterministic or stochastic rules implying an internal homothety. This term is a neologism created by mathematician Benoît Mandelbrot in 1974 from the Latin root “fractus,” which means “broken,” “irregular.”
Traces_88 | Acrylic
57 X 78
this artworks was made on paper, Spirit Expansion
More generally, a fractal designates objects whose structure is invariant by change of scale. There is a precise and transparent mathematical model behind all these fantastic objects which makes it possible to speak of mathematical structures having non-integer dimensions. Fractal structures were known before their popularisation in the early 1980s thanks to images calculated by computers which became sufficiently powerful at that time. We thus knew the Peano and Koch curves. These days, the Mandelbrot and Julia sets are the most famous.
I started this project on December 25, 2020, I just finished it today, February 3
it's still the same quest the traces..... space between the lines and how to fill it....during the construction of the first layers, i thought very strongly about the Fractals, a project i undertook a few years ago,
a real lesson in patience and concentration, at times I had to lie on my canvas to be as close as possible to my line, I was lost in the weightlessness of turning around the canvas, hence the name and
Traces_84" Dance with Letters" | Acrylic
$12,500
62 X 78
I started this project on December 25, 2020, I just finished it today, February 3
it's still the same quest the traces..... space between the lines and how to fill it....during the construction of the first layers, i thought very strongly about the Fractals, a project i undertook a few years ago,
a real lesson in patience and concentration, at times I had to lie on my canvas to be as close as possible to my line, I was lost in the weightlessness of turning around the canvas, hence the name and
The calligraphy, which includes words and letters as universal ancestral symbols, simultaneously enables feeling the deep link between individual and collective experience, between the soul of man and the memory of generations accumulated over millennia. He wants his paintings to be a source of questions for people, to intrigue them, to make them think. What is hidden in his works? Does the line have an end? Where is the censorship? What should be written there? What should we give of ourselves to create communication? His intention is for the public to ask the right questions about the artist's work.
Always in search of following this line, filling this space digging in the form the colour and the texture, leaving traces like our memory.
To write without thinking about its subject, denying syntax and narratives. To let myself go in this weightlessness of looking only at the space to be filled and not at what I am writing...
My texts are unreadable for the public and this is deliberate.
I sometimes integrate a letter, a word meaning at this moment of creation, trying to dialogue with the othe
Traces_77 | Acrylic
$2,750
19 X 23
“In my paintings, I navigate between Order and Chaos: inspired by what surrounds me, especially nature, I establish disorder to achieve a state of order.”
Traces_01 | Acrylic
$18,000
62 X 78
Always in search of following this line, filling this space digging in the form the colour and the texture, leaving traces like our memory.
To write without thinking about its subject, denying syntax and narratives. To let myself go in this weightlessness of looking only at the space to be filled and not at what I am writing...
My texts are unreadable for the public and this is deliberate.
I sometimes integrate a letter, a word meaning at this moment of creation, trying to dialogue with the othe
Traces series: Continually seeking to get closer to the line, go into the depths between texture and form, he started the Traces project. This series includes paintings of 190 x 160 cm. A distinctive feature of this series of works is an endless line of writing in Arabic on the all-white surface that he integrated into an installation of writing cylinders of 50 metres (x2 cylinders). He is not a poet or a calligrapher; he uses the letter and the word like a brush stroke. By creating this cycle of paintings, he finally achieved his goal: to break the strict codes of calligraphic laws and reveal the flow of unconditioned forms. He provoked art through the ambiguity between calligraphy and the abstract. His intention is to bring the audience back to the purity and origins of the form, without losing the meaning that is hidden there. These forms are not intentional; he suggests that the spectators interpret the signs which appear in their perception. Years earlier, two eminent artists had already worked on abstraction in art: Wassily Kandinsky and Jackson.
J’intègre des fois une lettre, un mot signifiant a ce moment-là de la création, cherchant a dialoguer avec l’autre qui est simplement le moi ? je suis seul face a cette surface, traçant des lignes interminables telle des pages
Traces_59 | Acrylic
$5,500
55 X 55
Pollock - Dialogue series: This series has a close connection and many points in common with the Traces series; in fact, it is a logical continuation of his artistic approach. Dialogue determines the communication within the work itself, objectively showing determinism and chance, order, and chaos. They are not two forces opposed to each other, but forces in interaction and interpenetration. He tried to express their dynamic mutual transformation in colour and in lines.
Traces_102 " My DNA Heritage" | Acrylic
$2,489
55 X 31
Theme on the human DNA, collection of different components to achieve this result, the work was made on the principle of rhythmic structures, all the elements of the work have been placed with attention, no gesture at random. for more details contact the artist
“Currently, I am continuing to work on several projects, which I hope to complete soon and present in contemporary art installations. I presume that my creative journey will bring me many more discoveries.”
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