‘My writing is like a return to the source.’ Hamza Bounoua at Meem Gallery, Dubai - November 2008
Hamza Bounoua is an intriguing contemporary artist to meet. At the age of 29, he has already enjoyed widespread success both in Kuwait - where he currently resides - and in his native Algeria, where he held a solo exhibition in the Museum of Modern Art in 2000. Seeing his impressive collection, currently at the Meem gallery in Dubai, one quickly understands why.
As part of the ‘Hurufiya’ school of art, which is engaged with modernizing Arabic art, Bounoua fuses the traditional and the contemporary with effortless grace. He tells us about the way he uses the North African technique known as ‘Mareedeen’ (reverse glass painting) in a progressive way.
“The technical aspect of my work is very important. I use a process which originates from Morocco and Tunisia called Maredeen. I take a modern approach to this technique by using a contemporary material called plexiglass, which is often used in architecture.”
“This process of reverse glass painting takes a great deal of time as each layer of colour has to be applied separately. Once the layer is applied, it is fixed so you cannot go back and change things. In that sense, it is not like a canvas and I only have one go at making the work perfect.”
The resulting mixed media paintings are striking, visual abstractions which are at once spiritual yet plastic. Bounoua is able to combine rigid elements of script, geometry and methodical symmetry in an unusually liberating manner. His unique process makes for a fine balancing act between spontaneity and precision.
“The magic is in the fact that I have no idea what I am going to go beforehand. The compositions come naturally, with emotion. I have no sketches as such. If I do plan and sketch then I do not produce good work. It is a spontaneous process, very much in the moment.”
“Once I finish the work, I take a step back and look at it like a spectator, like you. I have no idea what it is. Like Salvador Dali, I have no explanation for my works. My influences are subconscious.”
Although his influence of Berber calligraphy ties together his Islamic and African origins, the development of his personal script is said to be ubiquitous and representative of ‘an artistic form, void of its own meaning.’1 Bounoua explains this is due to his message being universal.
“My influences are mixed. I am Algerian, living in Kuwait, in the Arab world and open to Occidental people. The script in my work is not from one particular language - even I cannot understand my script.”
“The problem with language is that it becomes localized. I have removed the reading concept from language and have abstracted it. So this language is universal as is my work. People from America or China understand it.”
The fluidity of the loose script brings an impulsiveness to Bounoua’s creations, whereas the printed numbers in his works make a distinctive modern connection. Various circles, triangles and arrows appear like spiritual mappings. These mathematical elements are almost reminiscent of mandalas in their evocation of energy.2
Bounoua explains “The numbers are about time. Time is calculated, continuous and again universal. The numbers are also part of a graphical and aesthetic element to my work. My pyramids are very spiritual and the triangle as a symbol itself is very spiritual.”
“I think it is about this direction towards the light and it can be seen even in the colours I use. My works go from black to bright reds and oranges. I feel this is the best destination - to go towards obscurity and light.”
“I am into Sufi philosophy and I think about the mystical relationship with God. In the Muslim philosophy, the origin of Arabic script in the Quran is from God. So with my writing being vertical, it is like a return to the source.”
Hamza Bounoua’s solo is now on at the Meem Gallery, Dubai, 25th November - December 11th 2008
1 Yehia Sweilem, Art Critic and National Arts Council Advisor, ‘Hamza Bounoua’, Art Advisory Associates, London, 2008, p.122
2 The Oxford Dictionary of Buddhism defines a mandala as: A sacred circle or circular diagram having mystical significance.
