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拍品专文
Syrian artist Khaled Takreti studied architecture and design prior to earning a reputation as one of Syria's most exciting contemporary painters. Developing a love for drawing at an early age, he later polished his talent through years of formal training. In 1995 he moved to New York City spending two years there, expanding his knowledge of art, before relocating to Paris, where he has been working as a full time artist since 2006. In 2010 he was commissioned to create two mural-sized paintings for the inaugural exhibition of Qatar's Mathaf: Arab Museum of Modern Art, where his work is also part of its unparalleled collection. His large scale compositions often revolve around portraits or lives of women-a subject matter that the artist feels brings a sense of stability and strength while generating tranquility and balance in his work.
In this present outstanding lot, Khaled Takriti tackles a very sensitive issue in the Arab world, the freedom of choice in the social and emotional life of women. We are witnessing a 'second ceremony of a marriage'.
It is clear on this dominantly red composition that a beautiful bride stands out, with her white shining dress with intricate lace and embroideries, a veil on her head, and her hands covered with 'Henna' ornamental design. Around her are 'the others' with questioning looks on their eyes projecting a tiny minuscule circle of society. The questioning movements in their hands suggests their eagerness to know more and athough their faces are largely obscured, the angles of the figures' heads creates an intimate play of looks and stares. By choreographing this subtle dance of gazes, the artist invites the spectator into the closed circle of this wedding, where everybody seems to have a say, while obviously wondering 'is she in love?', 'Is she over her last marriage?', 'Which of the two male figures seated next to her is the groom?', etc. She seems strong, and independent, two features that are still not accepted as attributes of women in the Middle East, even today.
Society is always curious to know more and society has always set a prejudgement on accepting these issues.
In this present outstanding lot, Khaled Takriti tackles a very sensitive issue in the Arab world, the freedom of choice in the social and emotional life of women. We are witnessing a 'second ceremony of a marriage'.
It is clear on this dominantly red composition that a beautiful bride stands out, with her white shining dress with intricate lace and embroideries, a veil on her head, and her hands covered with 'Henna' ornamental design. Around her are 'the others' with questioning looks on their eyes projecting a tiny minuscule circle of society. The questioning movements in their hands suggests their eagerness to know more and athough their faces are largely obscured, the angles of the figures' heads creates an intimate play of looks and stares. By choreographing this subtle dance of gazes, the artist invites the spectator into the closed circle of this wedding, where everybody seems to have a say, while obviously wondering 'is she in love?', 'Is she over her last marriage?', 'Which of the two male figures seated next to her is the groom?', etc. She seems strong, and independent, two features that are still not accepted as attributes of women in the Middle East, even today.
Society is always curious to know more and society has always set a prejudgement on accepting these issues.