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• ibrahim jalal

ibrahim jalal Born in a village in the northern pat of Syria, Ibrahim Jalal (8.12.1947) grew up in a highly colourful universe. The interiors of houses, whitewashed like he heart of a dove, were all covered up, floors and walls, by various sorts of tapestries, worked out in brilliant colours, created essentially out of abstract forms. Thus his first aesthetic experience was that of a non-figurative art, authentic, popular and simple. The awakened sensibility of his childhood constitutes a crucial experience, and the ground upon which that his further artistic researches will integrate and nourish. When he arrived in Paris in 1973, he had already had realized a one-man-show in Damascus, and the Bosra museum had acquired several of his paintings. In Paris, he integrates the Superior School of fine arts (Les Beaux-Arts de Paris) and is particularly attracted by the "Ecole de Paris" more precisely the artistic movement of "Lyrical Abstraction. He joins the workshop of the late artist Gusave Singier, an important figure of the movement, where he confronts his work with the research of other artists. Rapidly, he realizes in Paris his first one-man-show, at the "Maison des Beaux-Arts" in 1976 and in 1978, another exhibition at the "Agence Air France, Champs Elysées". He participates in numerous exhibitions at the "Grand Palais": Salon d'Automne, the very selective "Salon de Mai" and  "Salon des Réalités Nouvelles" which is up to this date one of the most important manifestations of abstract art. In 1988 he flies to the U.S.A. Then Sinden Gallery in New York and the Arden Gallery in Boson acquire a number of his works. In 1990 he participates in the collection of the new museum of graphic, in Cuba Matanzas. His actual studio is in a "barge" "Atys". It floats on the river "La Marne" an affluent of the Seine, Paris's river. There, in this magic place, through the light reflected by sky and water, he pursues his research through childhood reminiscence, the surprising novelty of every day and the gaining maturity of his art. Titre 1 : valeur 1 Titre 2 : valeur 2 Titre 3 : valeur 3

PONCTUATION, RYTHM COLOR, RADIANCE, LIGHT In the workshop of Ibrahim Jalal one enters into sovereign domain color. An invading, luminous and radiating color. From one canvas to the next, the eye sinks into upheaval of an unespected sea of shades with multiple nuances dominated by a bold color : major red whispering yellow, strident blue and flickering green. Monochromatic? No… at least not quite. The canvas imprisons in its hold a large number of muffled signs which resist the ultimate chromatism of the local coloring, the signs are inscribed like inevitable enclaves in the global field of the work dominated by a major tonality. Tonality, musicality, rhythm, the work of Ibrahim Jalal has always been conceived as a musical study. The sounds are those of color dye, and variations which are whispered, called out and chanted. It is informal art for sure, but so strong is the grip around a gridded structure that one experiences more than what one sees; in this structure only fragments remain, fragments which denounce a presence subdued by color I, search of the necessary  material for those signs and rectangles to exist on their own. Another impression that dominates the canvas of Ibrahim Jalal is that one is not fully aware of the real forma. The surface expandes and flares out. The art work is constructed, thought out, dyed, within the frame and is limits. Yet, those are endless games. One always finds a radian fringe, a clear zone, which separates the real frame and dilutes the reference points. The center is thus liberated and looks escapes. Art of escape and intoxication by the color. The art of Ibrahim Jalal is very physical, even though it aspires to the divine expression through its material form; an art that is difficult to experience from reproductions. It is only through the direct encounter that the work yields the true effect.        Rafif Rifaï