TRACES

My approach is a kind of singularity, my works are coded posters based on Communication.
In my paintings, I navigate between Order and Chaos: inspired by what surrounds me, especially nature, I establish disorder to achieve a state of order.
The letter is like a currency created for communication, it is the source of all pleasure or passion. Any fragment of reality is, in fact, a Copy: it is the principle of the construction of fractals. The same is true for the letter. Linguistically, it changes tone, speed and emotion by integrating it with other letters which ultimately shape a Syntax.
The letter is composed of a code, a law and also a form to create individuality or, through a collection of letters, to evoke the experience of various events generated by the writer. The letter can speak for itself: the tree structure and branching lead to evolution and expansion. It is as if the letter wants to participate in this new form of human communication and begins to take a new twist in contemporary futuristic tools.
The branched structures of blood vessels or pulmonary lobes may recall the fractal shapes generated by the phenomenon of aggregation accompanying limited diffusion.
The letter is still present in the scientific, literary field and in other contemporary sign systems. Will it transform itself through the ages and take on another form and another meaning? History has taught us that YES.
The main subject of my work is always the letter, as I perceive it; it is not a syntax but a search for form under the aegis of deterministic and hazardous laws, and also a standoff between order and disorder as we understand them. All their obvious confrontation and their hidden interaction is perceptible in my paintings.
The adaptation of the letter is not unknown, it can find a place in all fields. I defined it as "fractal" because it is based on a linguistic symbol which makes no sense, being isolated.

  • Farid Izemmour
    Photographer
  • Date Taken:
    September 21, 2021
  • Country of Origin:
    Switzerland
  • Camera:
    no
  • Lens:
    no
  • Focal Length:
    no
  • Shutter Speed:
    no
  • Aperture:
    no
  • ISO / Film:
    no
  • Student Project:
    No
  • Farid Izemmour
    Matran
Artist Biography

Born on 24 September 1961 in Algiers, Farid discovered his attraction to drawing at the Hamia High School. His obvious talent did not go unnoticed, and in 1978 his teacher enrolled him at the School of Fine Arts in Algiers. This becomes the first milestone on the path to revelation of the future artist.
However, Farid does not just seek self-actualisation in art, he needs something more: to find his calling. The pure abstraction of artistic studies is not enough to coexist with a huge changing reality. Reluctant to follow the preconceived schema of study, Farid instinctively launches into the health field, driven by the desire to be useful, to take his place in this world. Freshly graduated with an instrumentalist license, Farid flew to Switzerland in 1990 following popular unrest in his native country where he feared he could no longer apply his philosophy of life. He became a Swiss citizen in 1993.
Farid quickly regained his taste for painting and created an amalgamation of works that emerged between 1991 and 1994. These works are the fruit of an intense search for his own style.
Having touched classicism, expressionism and Dadaism, Farid finally recognises himself in abstraction. Calligraphy accompanied Farid throughout his creative journey and eventually became his specialty, forging his evocative and daring style and unique method. With 30 years of experience, Farid continues to explore this ancestral art to this day, breathing new life into canonical forms and transmuting them through explorations of lines and textures.

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Artist Statement

My approach is a kind of singularity, my works are coded posters based on Communication.
In my paintings, I navigate between Order and Chaos: inspired by what surrounds me, especially nature, I establish disorder to achieve a state of order.
The letter is like a currency created for communication, it is the source of all pleasure or passion. Any fragment of reality is, in fact, a Copy: it is the principle of the construction of fractals. The same is true for the letter. Linguistically, it changes tone, speed and emotion by integrating it with other letters which ultimately shape a Syntax.
The letter is composed of a code, a law and also a form to create individuality or, through a collection of letters, to evoke the experience of various events generated by the writer. The letter can speak for itself: the tree structure and branching lead to evolution and expansion. It is as if the letter wants to participate in this new form of human communication and begins to take a new twist in contemporary futuristic tools.
The branched structures of blood vessels or pulmonary lobes may recall the fractal shapes generated by the phenomenon of aggregation accompanying limited diffusion.
The letter is still present in the scientific, literary field and in other contemporary sign systems. Will it transform itself through the ages and take on another form and another meaning? History has taught us that YES.
The main subject of my work is always the letter, as I perceive it; it is not a syntax but a search for form under the aegis of deterministic and hazardous laws, and also a standoff between order and disorder as we understand them. All their obvious confrontation and their hidden interaction is perceptible in my paintings.
The adaptation of the letter is not unknown, it can find a place in all fields. I defined it as "fractal" because it is based on a linguistic symbol which makes no sense, being isolated.
So I ask myself questions: is the letter not taking another form, accepting another status? Is not fighting the literary writing of traditional books a concern?