In Memory of the Arabesque

Kamrooz Aram

Work: EXHIBITIONS

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In Memory of the Arabesque



In Memory of the Arabesque
Green Art Gallery, Dubai, UAE
March 18 - May 5, 2019



In Memory of the Arabesque
Kamrooz Aram, February 2019

Certainly the arabesque (in the sense of “this artistically arranged confusion, this charming symmetry of contradictions, this wonderfully eternal alternation of enthusiasm and irony”) is the oldest and most original form of the human imagination. –Friedrich Schlegel

Every painting is essentially an accumulation of marks on a surface. The gestures of mark-making are limited and controlled by the body of the artist. The movements of the body are organic: the arm is connected to a joint that functions as an axis, and as we start to count the number of joints that affect the mark, from the fingers to the wrist, elbow, shoulder, hip, knees, etc., we begin to see that the variables allow for a vast range of motions, within the limitations of the body... "read more" has full text




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Arabesco, 2019. Oil, oil crayon, wax pencil and pencil on linen
62 x 54 inches / 157.5 x 137 cm

Endless Arabesque, 2019. Oil, oil crayon and pencil on linen 62 x 54 inches / 157.5 x 137 cm

Shadowboxer 2019. Oil, oil crayon and wax pencil on linen
62 x 54 inches / 157.5 x 137 cm

Orange Blossom, 2019.
Oil, oil crayon and wax pencil on linen
84 x 69 inches / 213 x 175 cm

Nocturne 2 (Silent Nocturne) 2019.
Oil, oil crayon, wax pencil and pencil on linen
76 x 60 inches / 193 x 152.5 cm

Nocturne 3 (Departing Nocturne) 2019.
Oil, oil crayon, wax pencil and pencil on linen
76 x 60 inches / 193 x 152.5 cm

Nocturne 1 (Rising Nocturne) 2019.
Oil, oil crayon, wax pencil and pencil on canvas
78 x 56 inches / 198 x 142

Ibn Sina 2019. Oil, oil crayon and pencil on linen
78 x 56 inches / 198 x 142

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In Memory of the Arabesque
Green Art Gallery, Dubai, UAE
March 18 - May 5, 2019

In Memory of the Arabesque
Kamrooz Aram, February 2019

Certainly the arabesque (in the sense of “this artistically arranged confusion, this charming symmetry of contradictions, this wonderfully eternal alternation of enthusiasm and irony”) is the oldest and most original form of the human imagination. –Friedrich Schlegel

Every painting is essentially an accumulation of marks on a surface. The gestures of mark-making are limited and controlled by the body of the artist. The movements of the body are organic: the arm is connected to a joint that functions as an axis, and as we start to count the number of joints that affect the mark, from the fingers to the wrist, elbow, shoulder, hip, knees, etc., we begin to see that the variables allow for a vast range of motions, within the limitations of the body... "read more" has full text