.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
.jpg?w=1)
Lot Essay
J’ai une passion pour le monde arabe ; nous sommes la région des trois religions monothéistes. Or la religion n’est pas qu’une théologie, c’est aussi une culture, nous avons un héritage incroyable (…) En 1964, j’ai découvert à San Francisco ces carnets japonais qui se déplient en accordéon, dans lesquels les peintres nippons accordaient dessins, textes et poèmes. J’ai aussitôt imaginé que ce serait une excellente alternative au format traditionnel de la page, comme si vous écriviez la rivière elle-même. Le résultat est une véritable traduction du poème arabe originel en une équivalence visuelle. Ce format japonais du papier qui se déplie crée un format horizontal qui semble infini et qui dépasse le cadre habituel des œuvres peintes. Cela devient une libération du texte et de l’image (…) Parmi les différents aspects de mon travail de peintre, je dois mentionner tout particulièrement les livres d’artiste que j’ai commencé à produire au milieu des années 60. Ce sont des « livres » japonais qui se déplient, en provenance de Kyoto et que j’achète à San Francisco, New York ou Paris. J’ai écrit sur ces « livres » des poèmes de la plupart des grands poètes arabes du XXème siècle, en commençant par Badr Shaker al-Sayyab, et j’ai accompagné ces écritures de dessins à l’encre et à l’aquarelle. Je tenais à ne pas utiliser la calligraphie classique, bien qu’elle fût admirable, pour mettre en valeur l’écriture personnelle qui, dans son imperfection même, introduit dans l’œuvre la personne qui écrit. Le résultat est une véritable traduction du poème arabe originel en une équivalence visuelle. Ce format japonais du papier qui se déplie crée aussi un format horizontal qui semble infini et qui dépasse le cadre habituel des œuvres peintes. Cela devient une libération du texte et de l’image. Je voudrais aussi rappeler que j’étais la première artiste du monde arabe, à côté du grand peintre irakien Shaker Hassan Al-Saïd, à initier ce qui devint plus tard tout un courant dans l’utilisation de l’écriture ordinaire dans la peinture. (Etel Adnan ; www.claude-lemand.com ).
The Arab world has always been one of my passions; we are a region comprising three monotheist religions. However, the region is not just a theology, it's also a culture, and we have an incredible heritage (...) In 1964, while visiting San Francisco, I discovered a series of Japanese notebooks that unfolded like an accordion, in which the Japanese painters arranged drawings, texts and poems. This is when I imagined that this could be an excellent alternative to the traditional format of a simple page—as if you were actually writing the river itself. The result is an accurate translation of the original Arabic poem into a visual equivalent. The Japanese format of the accordion-fold paper creates a horizontal shape that seems infinite and goes beyond the usual framework of painted works. It actually conveys a liberation of both the text and images (...) Among the various aspects of my work as a painter, I must mention above all the artist's books that I began to produce in the mid-1960s. These Japanese “books” that unravel originated in Kyoto, and I buy them in San Francisco, New York or Paris.
On these “books” I have written poems featuring most of the leading Arab poets of the 20th century, starting with Badr Shaker al-Sayyab. And I have accompanied these writings with various ink and watercolour drawings.
Although it is admirable, I decided not to use classical calligraphy, in order to highlight the personal writing which, in its very imperfection, introduces the person literally writing into the work. The result is an accurate translation of the oral Arabic poem into a visual equivalent. The Japanese format of the unfolding paper also creates a horizontal visual that seems infinite and goes beyond the usual framework of painted works. I'd also like to point out that I was the first artist in the Arab world, alongside the great Iraqi painter, Shaker Hassan Al-Saïd, to initiate what would later become an actual movement, showcasing the use of ordinary handwriting in painting.” (Etel Adnan; www.claude-lemand.com).
The Arab world has always been one of my passions; we are a region comprising three monotheist religions. However, the region is not just a theology, it's also a culture, and we have an incredible heritage (...) In 1964, while visiting San Francisco, I discovered a series of Japanese notebooks that unfolded like an accordion, in which the Japanese painters arranged drawings, texts and poems. This is when I imagined that this could be an excellent alternative to the traditional format of a simple page—as if you were actually writing the river itself. The result is an accurate translation of the original Arabic poem into a visual equivalent. The Japanese format of the accordion-fold paper creates a horizontal shape that seems infinite and goes beyond the usual framework of painted works. It actually conveys a liberation of both the text and images (...) Among the various aspects of my work as a painter, I must mention above all the artist's books that I began to produce in the mid-1960s. These Japanese “books” that unravel originated in Kyoto, and I buy them in San Francisco, New York or Paris.
On these “books” I have written poems featuring most of the leading Arab poets of the 20th century, starting with Badr Shaker al-Sayyab. And I have accompanied these writings with various ink and watercolour drawings.
Although it is admirable, I decided not to use classical calligraphy, in order to highlight the personal writing which, in its very imperfection, introduces the person literally writing into the work. The result is an accurate translation of the oral Arabic poem into a visual equivalent. The Japanese format of the unfolding paper also creates a horizontal visual that seems infinite and goes beyond the usual framework of painted works. I'd also like to point out that I was the first artist in the Arab world, alongside the great Iraqi painter, Shaker Hassan Al-Saïd, to initiate what would later become an actual movement, showcasing the use of ordinary handwriting in painting.” (Etel Adnan; www.claude-lemand.com).