The explorer of the first senses

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At the origin is the symbol could be the mantra of the artist Elmes. His artistic approach focuses on an essential question: what is art? What energy does it draw from? To which sensitive universe is it related? From which matrix does creativity nourish the expressive human imagination? The answers to these questions obviously can not come from a single explanation, the various human sciences offer a panoply of proposals: one of the tracks that has aroused the interest of Elmes is that of basic geometric figures borrowing from multidimensional forms existing in the environment: circle, triangle, square, etc. At the origin is the symbol could be the mantra of the artist Elmes. His artistic approach focuses on an essential question: what is art ? What energy does he draw from its power ? To which sensitive universe is he related ? From which matrix does creativity nourish the human expressive imagination ? The answers to these questions obviously can not come from a single explanation, the various human sciences offer a panoply of proposals: one of the tracks that has aroused the interest of Elmes is that of basic geometric figures borrowing from the multidimensional forms existing in the environment : circle, triangle, square, etc.

It must be reminded, however, that Elmes’ interest in symbols has developed since childhood, absorbing Berber ornamental signs that are omnipresent in pottery and weavings, especially in Tazmalt in the Kabylian mountains where he lives. He himself graduated in ceramics, he practiced these geometric motifs in his own creations, already touching the first senses of an millenary language.

Algerian plastic art has been crossed by this interest in traditional popular decorative signs. The promoters of the artistic movement Aouchem (Tattoo) since 1967 were keen to revisit “the magic sign born millennia ago on the walls of a Tassili cave (…)”. Like many Algerian artists, Elmes was influenced by this movement, which opposed Orientalism and the socialist realism in which Algerian painting was locked up in the first post-independence years. The “magic sign” in question which was familiar to him thanks to the everyday objects still in use, he will place it in turn in the composition of a fresco elaborated collectively under the guidance of the great painter M’hamed Issiakhem, by participating in the project of embellishment of the city of Algiers in 1978. “It was a very interesting experience on the relational and professional levels ; Issiakhem accepted our proposals and imposed them on the authorities”, said Elmes who remembers that this period was very favourable to art and culture. Period that he uses to acquire and improve the different artistic techniques, to control the composition of colours and to tame the material of the support.

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Abane Ramdane technical pencil dimensions 65cm x 50cm
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Bahloul Bahloul technical pencil dimensions 40cm x 30cm
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Portrait of khalti Melkhir acrylic technique dimensions 40cm x 32cm
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Mixed media dimensions 43cm x 32cm
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Hammamat Tunis door technical gouache dimensions 18.5cm x 11.5cm
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Door of Sidi Boussaid 03 technical gouache dimensions 19.5cm x 11.5 cm
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Bahloul Bahloul technical pencil dimensions 40cm x 30cm
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Sidi Boussaid door technical gouache dimensions 19.5cm x11.5cm

Exhibitions

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