Abdelkader Benchamma
Cosma
For his third solo exhibition at TEMPLON, Abdelkader Benchamma is unveiling a series of drawings, paintings and wall installations produced during his residency at Palazzo Butera in Palermo in conjunction with the Institut Français.
During his residency, the artist adopted a new approach to a subject he has been interested in for several years: the Cosmati, the singular use of marble which, fragmented in marquetry or when positioned symmetrically in Italian churches, play with our contemporary codes of representation in an uncanny manner. The forms created by these mineral veins appear to be neither figurative nor abstract, but evolve instead in a mysterious place between the two.
Are they an esoteric system of representation that has been handed down through the centuries and survived until the present day? Could they be the ancestors of the Rorschach test where the anxieties of the Middle Ages were projected?
Are they an attempt to give shape to the things that cannot be represented? The theories that abound open up a whole array of fascinating avenues the artist explores in his drawings.
In Palermo, Abdelkader Benchamma worked on numerous large-scale works where brown, ochre and violet mineral tones infiltrate the drawing, playing with our beliefs and our memories. Caught up in a profusion of details, amongst the different layers, miraculous and disconcerting scenes concealed, are they dreamlike or pareidolia?
The strange magma drawn by Abdelkader Benchamma escapes from the paper and invades the space, forming a sediment on the walls and turning the gallery into a landscape that evokes now a Baroque church, now a primal memory.
Cosma – Symétrie – Magma
L’artiste
Né en 1975 à Mazamet (France), Abdelkader Benchamma vit et travaille à Paris et Montpellier. Benchamma a choisi le dessin noir et blanc comme medium de prédilection. Variant les approches graphiques, il aborde tantôt la feuille d’un trait minutieux de graveur tantôt le mur d’un geste généreux qui s’approprie l’espace. La matière s’évade du cadre dans une croissance organique. Nourris de littérature, de philosophie, d’astrophysique, de réflexions ésotériques, ses environnements mettent en œuvre des scénarios visuels qui questionnent notre rapport au réel sondant les frontières avec l’invisible.
