• de Leningrad supportés par le monstre latter. Through these works, Errô not only Errô's painting, through his Autoportrait and interior scenes tram the 1940s-are • daltonien Matisse. demonstrates his knowledge of these au maillot rayé (Self-portrait in a striped also used by Errô in a number of the oth­ The selection of Matisse's work featured subjects, he also uses his own language T-shirt) !rom 1906 and the Portrait de er Matisse-inspired creations mentioned • in Errô's painting is sufficientlywide-rang­ to translate this history of art, which others Matisse (Portrait of Henri Matisse) paint­ above. ln 2007, the 1991 composition ing to be representative of his produc­ have spent pages and pages attempting ed by André Derain in 1905. The artist's was reused in unambiguously decora­ • Grands tion as a whole, !rom the Fauvist years to explain. ln Les Fauvesthe artist image is also present in other works by tive intent, when Errô wrapped it around a to his final paper eut-outs in the 1950s. allers a mischievous take on the famous Errô; in his 1986 Portrait of Matisse and mysterious box. How should this be inter­ • Hommage And yet, this non-chronological pres­ remark made by art critic Louis Vaux­ 1987 à Matisse (Hamage to preted? The symbolic richness of the ob­ • entation, toing and froing between early celles-"Donatello chez les fauves" (Do­ Matisse), the lslandic painter, with his ject allows us to view it, turn by turn, as a works and those from the end of his ca­ natello among the wild beasts)-when unexpected, larger than lite, and some­ metaphor for a treasure chest, a memorial • reer, does not create confusion: on the evoking the strange contras! created times provocative combinations of motifs, vessel, or, more prosaically, a suggestion contrary, it reveals Matisse's rich talent by presenting Albert Marque's highly seems to want to contrant the stern but box, serving as inspiration !rom time to • and consistency in developing his art, classical sculpture amidst the deluge fair countenance of the very serious Mr time. This box is one of Errô's last works consolidating his beliefs, and success­ of colours in paintings by Henri Matisse, Matisse. For a while, Errô abandons his relating to Matisse. ln the mid-1980s, the • fully resisting his tireless adversaries. Errô André Derain, Maurice de Vlaminck, et predilection for saturating the pictorial artist reached a milestone by associating implicitly states that victory cannot be al. in Room 7 of the Salon d'Automne. A space in favour of enhanced readability. his name with Picasso and Matisse in the • won without a fight. ln 1899, the famous section of Maurice de Vlaminck's 1906 This temporary suspension of his figura­ tilles of two paintings (Erra-Picasso-Mat­ art critic and staunch supporter of Mat­ painting Les Arbres rouges (Landscape tive all-over style can also be seen in Ma­ isse (Nature morte aux oranges) (Still lite • isse, Félix Fénéon, in his typically terse with Red Trees) can be seen at the back tisse Motor (1969) and an untitled collage with Oranges)) in 1985 and Erra-Picas­ style, remarked that "anything new, to be of a leopard's wide-open mouth. Oppo­ tram 1970, in which Matisse's famous Nu so-Matisse in 1986). Proud of his influ­ • accepted, needs a lot of fools to die".1 site, the same painting has been given rose (Pink Nude), painted in 1935, finds ences, he was attemptinga type of major Thanks to his courage and the passing a gigantic pair of jaws with sharp fangs, herself intertwined with a passenger jet. reconciliation between the two leading • of time, Matisse triumphed over his en­ literally "roaring" out of the canvas. Else­ The resulting tableau might be seen as a lights in modern painting. ln his recent emies in the end, just as the Soviet sol­ where, an impassive lion seems to have mechanical and modernist reinterpreta­ production, Picasso, the other "monstre • diers eventually defeated theirs. But what ripped another painting to shreds. A host tion of the mythical encounter between sacré", seems to have gained the upper about the "colour-blind monster"? The of wild animais have invaded the rest of Leda and the swan. ln bath cases, Errô hand and is devouring his way through • reference to colour-blindness reflects the the composition, transformed into a jun­ creates the models or "maquettes" for the works of Errô. ls it definitive though? arbitrary handling of colourwhich caused gle, bath inextricable and technicoloured, his collages using the same tools as • so much anger and indignation among where the paintings of Derain, Vlaminck, Matisse in the 1940s and 50s, i.e., a pair the most conservative thinkers when the Matisse, and even Van Gogh are inter­ of scissors.' On the other hand, the in­ 1 Félix, Fénéon, UExposition Pissarro" in L'Art ° • Fauvists first crashed onto the art scene . spersed with vegetation. Monkeys reign congruous nature of his juxtapositions is moderne, n 3, 20 January 1899. But Errô takes this a step further, with a supreme, amusing themselves with these more in line with the Dada spirit: thus, in 2 Marcel Nicolle, Journalde Rouen, 20 • en abyme Matisse Motor, Luxe November 1905. mise of the idea of monstrosity. artworks which, in the early twentieth the figures !rom have ln the eyes of their critics, paintings by century, could easily have been com­ seen their environment suddenly taken 3 ln an interview carried out when the artist • donated sixty-six collages to the Centre Fauvist artists seemed monstrous; at the pared to the antics of monkeys. Asmiling over by an enormous motor and fighter jet. stroke of a brush, Errô has made them baby, sitting in front of La Raieverte, has However, Errô's logic does not amount to Pompidou Paris in 2010, Errô explained that • although the cutting and pasting phase is truly monstrous. The richly coloured face turned round, as though appealing to the nihilist desacralization. Like Matisse, he only a preliminary step before producing the • of Madame Matisse in La Raie verte (The viewer... alter all, didn't the critic Marcel has succeeded in emancipating himself painted work, the collages are of particular Green Line, 1905) is replaced by a gri­ Nicolle describe Fauvist paintings as the !rom his academic training without entire­ importance ta him. They are "the originals macing creature, with abnormally large "barbarie and naïve games of a child play­ ly rejecting it. Spending six years training and the paintings are the copies". www. • centrepompidou.fr/cpv/resource/cpBqyr/ eyes, nase, and mouth while the figure ing with the paint-box he was given for as a painter in Reykjavik, Florence, and rXapqd) in La Chevelure (Blue Hair, 1952) has Christmas"?2 Oslo, in a way thatwas "classical, perhaps • 4 Ibid. gained an enormous head, bent over at lt is with this same level of aggressivity tao classical", Errô understands the im­ 4 • a right-angle ... There is even a clever nad that several major icons of modern art, portance of iconic artists !rom the past. ls 5 On this subject, see the interview with to Matisse and his scissors, in the tact that (not only Henri Matisse but also Edvard it fear of being devoured by the "monster the poet and art critic Alain Jouffroy, Errô cuts out the artist's paper eut-outs: Munch, Vincent Van Gogh, Salvador Dali, Matisse" that makes him celebrate the which coincided with the exhibition Errô, • images du siècle (www.youtube.com/ the figure of Zulma (1950) finds herself André Derain, Max Beckmann, Pablo Pi­ artist in a banner-like work to his glory, watch?v=pTs0ucrK3nQ) • reduced to a mere fetish in the clutches casso,Marcel Duchamp,Juan Gris,Alexej the succinctly titled Matisse? As was the of an alarming mummy, while a few of von Jawlensky, Piet Mondrian. and others) case for Les Vainqueurs de Leningrad, • the creature's bandages can be seen in represented by some of their most em­ the leading Fauvist's paintings have been the void left by her silhouette, eut tram blematic works, are plaguing the mind of placed in a grid in this oil on canvas !rom • the adjacent vignette. Every element of poor Jackson Pollock in the appropriately 1991, which could be interpreted in any the tableau could be similarly analysed, titled The Background of Pollock. Each number of ways. ls this a vast example Being on the wall­ • as the works of Matisse (our "monstre of these figures have counted, to varying of "squaring off", an academic practice if sacré") are attacked by "real" monsters degrees, in developing the style of the ever there was one, which would enable Beings of the wall • such as Frankenstein, King Kong, Godzilla, artist who would make his mark pioneer­ Errô to rigorously appropriate not just in­ Berlin-KRM and Dracula. ing Abstract Expressionism in the years dividual works by Matisse but his entire • Two other works, painted between 1966 following World War Il. As portrayed by œuvre? The lslandic artist uses the word Patricia Tardy and 1967, have an identical compo­ Errô, Pollock seems to be wondering how "net" for this grid. Should Matisse's paint­ • Vainqueurs de sitional scheme to Les to contend with this vast and cumber­ ings, therefore, be viewed as prisoners, • Leningrad supportés par le monstre some "cultural baggage" in order to take caught within this giant net? This coercive daltonien Matisse. ln Les GrandsFauves the modern art world by storm, as sug­ approach would seem to hold the car­ (Hommage Louis Vauxcelles) gested by the spirited horses and their The KRM collective, composed of art­ à (The Wild nivorous works of Matisse symbolically 2 • ists GezaJager' and Chérif Zerdoumi , a Beasts (Homage to Louis Vauxcelles)) and enraged riders filling the lower section at bay while, at the same time, inspiring The Backgroundof Pollock, Errô splits the of the composition. Might Errô himself a feeling of movement, of flapping even, Franco-German couple, was formed in • 2002 with the duo's creation of a monu­ space into two levels with works by Ma­ not have been exposed to the question­ enabling Errô to place his favourite works Who who? tisse in the upper section of the painting, ing that he attributes to Jackson Pollock? by Matisse in the toreground,5 including mental fresco called eats on • a wall in Berlin. Having been completed while a whole range of characters occupy lndeed, Pollock's torment is comparable portraits and self-portraits, La Raie verte • the lower section. The notions referred to the turmoil that other artists have felt, and La Blouse romaine (The Romanian in a single day "in a kind of trance", this to in each work are intimately linked to feel, and will continue to feel, struck by Blouse). Other paintings, playing a more adventure "where the notion of time and • art history: the uproar provoked by the vertigo when faced with the burden of secondary role, in this all-encompassing space no longer existed" was regularly Fauvists in 1905, for the former, and the art history. What to do about all of this? work-La Femme au chapeau (Woman photographed as a sign of its transitory • thorny issue of the influence of Europe- Although Matisse is not the only artist to with the Hat 1905), La Desserte rouge existence "a violent experience, lacking respect, with the sole aim of surviving... • 129 an art on its American counterpart, in the haunt Pollock, he does appear twice in (Harmony in Red 1908), La Danse (1910), • • • The artist Gad does net exist."3 The fol­ defines the evolutionary nature of their only picture of a missing relative that they have an intimate side suited ta family lite lowing year, they repeated the perfor­ concept as much as that of the perfor­ can keep, carry with them and pass on, "4 while also being feminine. The pieces of • mance on the wall of the Mauerpark in mance. Each piece is a duet, without she says. Over the years, she has accu­ fabric, which have become frayed, torn, Berlin with a plan and the desire ta "do a pre-set plan, without a sketch, in this mulated a large quantity of documentary and patched by successive uses, be­ • something powerful and unique that had fleeting state prompted by the action of archives on the changes that have af­ cornepart of the fabric of the memory of never been seen before." The singular one which may or may net be called into fected Cape Juby, a souvenir of the site these lives of the present or of the past. • style and words used in this palimpsest question by the action of the other. This and its inhabitants, which will soon be While sewing, as well as the materials, covering one hundred metres on top of is net dissimilar to the exquisite corpse of assembled in a museum. The duo creates are a feature of what is traditionally con­ • a layer of pre-stuck posters that predate the surrealists and the creative games of a mural with the children ta pay tribute ta sidered women's work, it aise acts as a • the fall of the wall, were controversial. This Andy Warhol and Jean-Michel Basquiat, Antoine de Saint-Exupéry and the paper reminder that the home surroundings are led ta the press getting involved. The albeit with their own particular interactive Little Prince, barn in Tariaya following the the preserve of women in Saharan soci­ • fresco was detached and recovered by methods, in which the dialogue becomes engine failure of the aviator. Little by little, ety. ln this place, fabrics are a medium the artists, thereby affirming its status as the third essential element of the work in KRM has forged lies with the nomads of steeped in history and questions of iden­ • a work of art and their desire ta make a action and net an unconscious addition the desert. tity that express, through the KRM's re­ statement through their actions. Alter an or an aesthetic and playful exchange. compositions, the fragile resistance of a • initial exhibition at the Kulturbrauerei in The collective work involves sharing the Sahara: textile works tribal society in the face of time, galloping Berlin, One art, two heads, a solo show same space, the same creative freedom, Here, the walls are not a source of division, modernisation, extinction. and oblivion. • followed at the history museum of Liepzig, and the same anonymity. But if the mean­ except perhaps if they are made of sand. They deconstruct sa that each element is and since then, many others in Europe ingless KRM signature and the stencil of Rather, they bring together those who are made intelligible and reassemble using • and elsewhere. Apart tram this factual the stray dog are a sign of self-efface­ following "intangible" paths-travellers, sewing thread that has been dispersed element validating the emergence and ment, it is paradoxically that of the quest aviators, fishermen, and nomads. over time. The result is an entirely differ­ • recognition of KRM by the sign and stencil for a family, an origin, and an identity. lt And the latter, with their flowing and mov­ ent construct "patching" together pieces of the "stray dog", the duo's experiment demonstrates their desire ta be part of a ing habitat, inspired in 2017 by Roger of the past, which have been stretched • on a fragment of this paradoxical sym­ community devoted ta acting on impulse Castang, a gallery owner tram Perpignan, thin. ln doing sa, we are forced ta take a bol of separation and the free movement and free and anonymous speech. What's would be at the origin of this unexpected fresh look at this projected suriace that is • of people and ideas, became a turning more, sticking as close as they can ta this and particular textile work. almost entirely free of Western influenc­ point in their approach and projects. freedom aise involves transgressing cer­ Finally, KRM came across the genuine es, without figurative representation and • tain aesthetic conventions, the paradoxes desert walls in the form of the khaïma, a without writing or signs. The Spirit of the Wall of which do net trouble them at all: the traditional tent and symbol of Sahrawi Similarly, it can be viewed in two ways, • ln their workshop away tram the city, a street factory-laboratory, the substrate, people, who still live in their tents in the an abstract way in which each persan disused textile factory in the Tarn, they in­ the desire ta make art. desert, in the courtyards, or on the roofs can recreate images, territories, or geo­ • vented a Spirit of the wa/1 concept. This is They design fragments around themes of houses. They are not interested in new graphical maps, male shapes, and veiled visually translated into a raw, iconoclastie, that are integral ta our contemporary tents, but in the countless textile frag­ women, or a more tangible, tactile way. A • and disruptive declaration on large-sized society, such as segregation, genocide, ments tram tents and women's clothing reality thatwe would like ta touch with our panels of wood or metal or nomadic exploitation, confinement, and discon­ that the sand has net finished digesting. fingers ta feel the patina of time. The wear • fragments of an imaginary wall that are tent. Bath unique yet consubstantial with They search for and collect everything and the fragility of a fabric resembles the • constantly in movement, undergoing the a whole that they reproduce with the that has net been recycled, ta create a hide of an animal with its coarse scars, process of production. A "nec-tribal" ex­ sense of a space that surpasses each library of samples of used fabrics. blisters, wrinkles, and lifelines, along • pression that resembles a performance one of them, with temporalities and dif­ They decided ta make a statement by with its running stitched seams that are which is inextricably linked ta the act of terent actions that collide. lt is through transforming them into a single piece, more or less loose, like the wanderings • deconstruction and construction. this instant reaction ta the stimuli of our which is bath substrate and a medium of a nomad. ln places, you cou Id feel and Their work is the product of a blend of urban and consumerist society that they at the same time, without renouncing even hear a slight rustling, made by the • different impulses and influences. lt draw the portrait of a globalised world in their style and creative process that they bags of fleur used for thermal insulation. proceeds tram the lacerated poster which social or territorial conflicts and adapt to an environment where there are Each piece of fabric has scalloped trims • that flows tram a persona! collection the desire ta contain migratoryflows with no models and urban signs. They pre­ that stiffens the assembly and prevents of 80,000 posters tram the 1978-1990 more walls, are exacerbated. Men move, serve the rectangle, that of the wall, of the fraying. This border, which forms a picture • period; tram stencils, tags; tram drawn, the walls follow them. khaïma, which brings the family, the tribe, frame, aise manifests the artists' desire ta sprayed, or scratched graffiti; and tram and, symbolically, the nomadic society transform the everyday abject into a work • drawing, painting, poetry, and writing. Tarfaya together within a "terrestrial" limit. The of art, ready to be put on display. Similarly, They use models and a vocabulary that Since 2006, Tarfaya has become anoth­ composition begins without a template some walls are fitted with angular hooks • springs tram mass culture, advertising, er, much less promising and decisive and, on the reverse side of the patchwork, in Tamarix wood, which plays an impor­ the media; and tram those of the popular location for these urban contextual art­ and will ultimately be sewn together by tant raie in popular Berber culture as a • countercultures: Punk and Bad Painting ists. During a trip ta Morocco, fleeing the hand. food and medicine for their herds. movements, and Street art, as well as the tourist sites, they decided ta follow the Very quickly, the artefacts, used previous­ The use of fabrics as the only medium • tribal art of other cultures. They are net National 1 road, which crosses the desert, ly, proved ta be as meaningless as they requires different techniques. Cuttingand fooled either by their cultural and artistic and, as a result of their car breaking down, were difficult ta use given the fragility and sewing replace the act of painting, with • heritage or by not being the first ta bring they discovered Tartaya. ln this former wear of the fabrics. Right off the bat, this the more time-consuming tasks of col­ the street into the creative act. They "bor­ trading post far away tram the industri­ work is unique because of its abstract lecting, unstitching, cleaning, serialising, • row" the materials and the meaningful alised world, surrounded by a preserved character that is reminiscent of the large and reassembling according ta the mate­ and significant language of the street and unspoilt countryside with sandy fields of colour of the Colour Field move­ rial, the form, pattern, colour, or even the • that they condemn, misappropriate, and streets, no bank, no electricity, or tourists, ment. associated with American abstract state of wear and patching of the fabrics. • blend. This is net done ta transpose the and silent walls bearing no messages or expressionism, and the Pattern Painting The new experience of the disappear­ "what" of a substrate tram one location ta posters. Nothing can withstand the wind, associated with patchworks. But if, like ance of the figure ta be replaced by a • another, but ta bear witness ta the "how" sand, and UV light, anyway. the latter examples that drawtheir inspira­ patchwork organisation of colours and and its context. This meeting point between man, the tion tram repeated decorative motifs and forms, associated with a mode and a • For KRM, art is net an end in itself, but sky, the ocean, and the desert was sa Matisse's eut paper, the compositions ac­ space that belongs ta oriental image­ the means of getting people ta perceive shocking ta them that they decided ta centuate the impression of two dimen­ ry or ta other non-Western cultures. is • the world a round us. The spirit of the wall settle there semi-permanently. Geza sions, expansion and visual balance, they based on tribal domestic craftsmanship, resides in the impulse which brings ta lite photographs the sites, the remains of aise stand out by their sensitive character or even shamanic craftsmanship like the • the creative act. and the context which the past and, very quickly, the families and sense of the past. Mo/as of the Native American Kunas or underlies its manifestation, and net in an in their encampments ta which she of­ As a pluralist material with multiple utili­ tlingit blankets of Alaska. The repetition • aesthetically pleasing style or in a par­ fered her prints during future visits. "For tarian and decorative purposes in home­ of the surfaces is done in a movement ticular abject. some, it is the first time that they see an wares as well as in clothing, the fabric is that seems to have neither beginning nor • They fulfil a kind of work in progress which image of themselves, for others it is their never neutral and KRM's textile creations end. Given this organisation deprived of 130 • • • • a centre, the eye cannai look at it in the environment, remains attached ta some­ of the social reality of her country of origin. scriptures ta keep only the ornaments. • same way as the wall, the draughtboard, thing human. Daughter of a history teacher and an art Ornaments which are as rich in meaning or an oriental rug. ln this almost abstract The textile artwork escapes any attempt teacher, Ra nia was quickly introduced ta and ambiguity as the texts. These orna­ • space, only the signature and the stray al classification and the artists who the basics of artistic theory and practice. mental elements, which line the pages • dog remain intelligible. choose it do sa for many reasons. Mat­ This led her ta pursue university studies of the Koran, proliferating and covering isse approaches a "wall-icity" in order ta at the Higher lnstitute of Fine Arts in Tu­ every available space, prompt us ta go • Going further than the coincidence of widen "the window ta the world" offered nis, where she is currently completing beyond their geometric and mathemati­ the locations and textiles which, despite by the painting and the limits of pictorial her thesis. cal character to reflect on notions of infin­ • being separated by more than a century, academicism. KRM's textile-only mu­ Moving towards figuration ity. ln the repetition of these arabesques, links the styles and practices which as ral artwork remains a performance that While still a student, Rania Werda experi­ there is a form of insistence, penance, • different as those of Matisse and KRM, we makes no distinction between the action mented with several technical substrates. chant, or call ta prayer. can wonder what these experiences have and the work. ln her first series in acrylic, the drawing These stylised plant details, which flourish • in common or not. An alternative: Beyond "lt's not the same temporality," says Cherif was simple and vigorous. The paint and and branch off tram an undulating line, the coincidence of the locations and tex­ Zerdoumi, and the goals are different; fi­ the colours defined the contours. Her re­ tram which the stems, leaves, or flowers • tiles which, despite being separated by nally, what links Matisse and KRM is per­ search bore witness ta her love of peo­ emerge and which repeat themselves more than a century, links the styles and haps this disruptive aspect that is inherent ple and contributed ta her being drawn endlessly, drawing the eye in a circu­ • practices as different as those between in their approaches, i.e., the capacity ta towards figuration. From this period on, lar motion that gives the impression of Matisse and KRM; one can ask what these take risks in the name of creative freedom. Rania laid the foundations for a rigorous an endless cycle. Repeating, repeating, • experiences have or have not in common. Berlin is perhaps the revelation that the work method, based on the series. lt is and repeating aga in... patterns, gestures, wall is not composed of a single indivis­ aise in repetition that her technique as­ snapshots, series, etc. This is probably • Munich and the 1906 exhibition of lslamic ible piece, with a single constituent part serted itself. This is where she has ta de­ what aise drave Matisse ta develop his art was for Matisse-as it was for other and material and that ils message can fine her own path. Her engravings reflect blue colour shades ad infinitum.l have • modern artists-the revelation or confir­ only be understood bit by bit. Tarfaya is a meticulousness and rigour expressed been collecting fabrics with floral and mation of an intuitive and expressionist certainly the confirmation that the wall is in a visual vocabulary composed of orna­ plant motifs for years. These fabrics that • creativity and the source of some radical a dotted line linking people, between the ments, flowers, and calligraphie writings. 1 use, sometimes as clothing and some­ transformations in art. 11 was aise an in­ shared and individual history, between Despite the material difficulties and the times as blankets, for female bodies that • dication of the industrial and colonialist the singular and the collective, the anon­ cost of the engravings, Rania never ceas­ olten stand in an arrogant and proud utopia and of a decline in humanist val­ ymous and the identified, the visible and es ta compose. Sorneworks bear witness posture. The use of leather as a materi­ • ues, due partly to the individual's inability what is not or no longer visible. ta her determination ta create. al came quite naturally ta my approach ta grasp the changes brought about by She adapted her method of painting ta since the covers of Koranic books were • technology and science. the constraints of digital printing, leather, often made of leather... 1 was fascinated For KRM, Berlin represents the affirmation 1 A multidisciplinary visual artist, Geza Jâger or the colours involved. She now exe­ by these covers ... a meticulous work of • is also a musician, singer, performer, of their approach based on the move­ cutes her works with a mastery of en­ hot stamping and embossing drave me rnentof the hand and contemporary tribal photographer, and art history graduate. graving and printing techniques as well to work with a craftsman in leathergoods • 2 Chérif Zerdoumi, a self-taught sculpter and practices. Today, while our view of these as the quality of leather. As a result of her ta find out about this technique that is practices, common ta many artists, !rom painter, and a gallery owner of ancient and research in visual art on the different orna­ expensive, unfortunately. However, as 1 • contemporary works. Dubuffet ta Baselitz, Penck or Basquiat, ments of sacred books, she constituted love using new technological mediums, 1 has changed; they remain symptomatic 3 Geza Jâger and Roger Castang, in <1 De Berlin an extensive laboratory of forms. turned ta the hot press and laser cutting ... • à Tarfaya», Centre d'art contemporain Walter of the end of utopia, of a fear of the future Benjamin, Castang-Art-Project, january­ Alter spending a lot of lime working on • and of violence against the establish­ march 2020. The starting point my image with Photoshop, 1 transferred ment. Disconnected tram primitive socie­ 4 Geza Jâger, interview with KRM, 18 january The starting point of her work can be my image using the hot press; the heat • ty, tribal art is often defined in terms of the 2020. found in the interpretation of the Koranic changes the colour as well as the size of appropriation or assimilation by Western 5 Matisse, whose background was among verses which have always been contro­ the hide. This change makes each skin • artistic practices. KRM, on the contrary, the weavers of Bohain-en-Vermandois, versial. lt is unclear who said what or why unique. Consequently, each print be­ brings new lite ta cultural fragments by was trained in industrial textile design. His something was said. Their interpretations, cornesunique. Alterwards, 1 switched ta • an imaginative restructuring process that fondness for and interest in this craft can which are sometimes fallacious, some­ laser cutting alter enhancing my image does not reject its origins. be found in his collection of textiles which times audacious, or sometimes mislead­ in lllustrator, with the most difficult task The correspondence between the tex­ serves as a backdrop for his painting, e.g. the ing, tend ta confuse Rania. being that of getting my cutting points • Haitis, Moroccan textile mashrabiya, in the tiles and the Maghreb links Matisse and 0 0 Why this, why that? None, or practically ta coincide on the image... the gaps be­ 0dalisques • He also produced clothes for • KRM, resulting in comparable solutions in the major fashion designers or the collecter none, of the different specialists of the tween the lines of the image and those of visual art: fiat effects without any sense of S. Shchukin, ballet costumes for Serge Koran and of Islam give the same expia­ the engraving create a shading effect that • depth, disintegration, or absence of the de Diaghilev and later the chasubles of the nation of the texts. Which is the right one? 1 find very interesting ... letting us bathe in figure in faveur of coloured surfaces, re­ celebrants of the Dominican chapel of Vence. Rania Werda compared this problem ta the lack of clarity". • moval of the central element in faveur of 6 Maurice Denis, <1 La peinture», in Matisse et la that of the Rorschach tests, these psycho­ And while the characters depicted by Ra­ details, leading ta a gaze that is dispersed couleur des tissus, Paris, Gallimard, 2004, logical tests which each persan interprets nia hide their inner selves by not revealing • by the repetition of the pattern. However, p.96. differently according ta their psychologi­ their faces, she paints what they are hiding, while "the revelation came tram the east" cal background and lite experience. Each just like Matisse when he made his paper • according ta Matisse, il is through the use image can be explained in different ways. cuttings. She gives substance ta what • of fabric5 that this is achieved. For KRM, il The ink stains evoke various associations troubles the individual, ta the emotion that is linked ta the chance discovery of the that can be used ta assess the psycho­ they feel, the anxieties that stir them, and • desert and its people. Matisse and logical state of a persan. But as everyone the worries of their soul. The face hides "Paint like a weaver or dyer" and "draw knows, these tests, which even if they can the causes that upset us. The annoyance • with scissors" by pinning the patterns ta the plastic approach give some idea of a person's psyche, are that we feel inside us is imperceptible and the canvas in order ta experiment with of Rania Werda far tram being 100% reliable. Given that invisible ta those close ta us and who are • several combinations in the composi­ the lslamic religion prohibits the rep­ watching us. Rania Werda explains: "My tion, contributing ta a common process. resentation of the human figure, Muslim characters are not hidden behind the ls­ • However, for Matisse, the latter is linked Nadia Zouari artists have become masters in the art lamic veil. For me, there is a connection ta pictorial representation, "painting with­ of geometric and floral decorations with with the Levers of Magritte which has al­ • out any provision for the future, painting geometric patterns. The masques and ways strongly challenged and intrigued for the sake of painting, the pure act of palaces are literally covered with mo­ me, with its buried desires, fears, trauma, • painting"•, said Maurice Denis. For KRM, Born in 1984, on the southern shore of saics, tiles, mouldings and carpets with and the frustrations of the unconscious the textile medium and its processes are the Mediterranean, Rania Werda is a rich symmetrical designs, just like sacred mind." She adds: "I live surrounded by • part of a completely different approach blend of bath western and eastern civili­ books. Rania Werda explains: "I stripped strong women and real fighters who are • 131 which, while inextricably linked with its sations with a bold and rebellious touch the pages of the Koranic books of their heads of families and who olten hold po- • •