Drawing Room 2017

Through her series Les puits du ciel, Chourouk Hriech continues her exploration of drawing through the use of vases, whose shapes refer to ancient times. Within these everyday objects, she draws birds, which she considers as allegories of spirituality, as manifestations of an endless and inaccessible 'elsewhere'. By opening the vase, the artist overturns realities and invites us to discover an imaginary ecosystem. She twists the initial function of the objects to explore new possibilities. The artist creates a paradox, reflected by the oxymoron in the title: the vases shelter another sky and the hollow space becomes infinite.
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In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series 1ère rencontre avec Douala depicts her journey through Cameroons economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architectures rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series “1ère rencontre avec Douala” depicts her journey through Cameroon ‘s economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture’s rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series ?1ère rencontre avec Douala? depicts her journey through Cameroon ?s economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture?s rigor and poetical chaos of life and vegetation.

Exhibition:
-Faire ailleurs, Galerie Anne-Sarah Bénichou, 25th march- 6th May 2017, Paris, France

In these drawings, Chourouk Hriech represents a divided world in which she tries to bring consistency. The artist suggests an encounter between nature and urban landscapes through a play on different perspectives. She emphasizes the contrast between the distinct lines of architecture and the generous vegetation. Hence, the black lines, similar to trajectories, try to organise the space and link the artworks together.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series “1ère rencontre avec Douala” depicts her journey through Cameroon ‘s economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture’s rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series 1ère rencontre avec Douala depicts her journey through Cameroons economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architectures rigor and poetical chaos of life and vegetation.

This black and white drawing is typical of Chourouk Hriech's approach. The viewer can witness the artist's sure stroke gradually drawing a conflation of urban and vegetal structures, both crucial elements throughout her work. She plays with perspective and patterns to create an oneiric, irreal, even utopic city. With this artwork, Chourouk invites us to travel in another temporality. Its poetical and curious title increases the mystery conveyed in the piece.

Dans cette série de dessins à l'encre de Chine, Chourouk Hriech représente différentes perspectives d'un même assemblage d'objets. Ce sont des cruches, des livres ou des draps qui ont servi à la réalisation d'une de ses oeuvres vidéos. Ces dessins sont en noir et blanc, géométriques et contrastés mais des détails comme les motifs des cruches ou les drapés se dégagent. Le titre évocateur de la série confirme la volonté de l'artiste de capturer avec ces natures mortes un moment qui lui est particulier.

Dans cette série de dessins à l'encre de Chine, Chourouk Hriech représente différentes perspectives d'un même assemblage d'objets. Ce sont des cruches, des livres ou des draps qui ont servi à la réalisation d'une de ses oeuvres vidéos. Ces dessins sont en noir et blanc, géométriques et contrastés mais des détails comme les motifs des cruches ou les drapés se dégagent. Le titre évocateur de la série confirme la volonté de l'artiste de capturer avec ces natures mortes un moment qui lui est particulier. 

Dans cette série de dessins à l'encre de Chine, Chourouk Hriech représente différentes perspectives d'un même assemblage d'objets. Ce sont des cruches, des livres ou des draps qui ont servi à la réalisation d'une de ses oeuvres vidéos. Ces dessins sont en noir et blanc, géométriques et contrastés mais des détails comme les motifs des cruches ou les drapés se dégagent. Le titre évocateur de la série confirme la volonté de l'artiste de capturer avec ces natures mortes un moment qui lui est particulier.

Headcopy of Chourouk Hriech and Melik Ohanian's work "Faire ailleurs", edited by the Galerie Anne-Sarah Bénichou, text of Nicolas Bourriaud, accompagned with an original lithography, signed, dated, titles by both artists.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series “1ère rencontre avec Douala” depicts her journey through Cameroon ‘s economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture’s rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series “1ère rencontre avec Douala” depicts her journey through Cameroon ‘s economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture’s rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series 1ère rencontre avec Douala depicts her journey through Cameroons economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architectures rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series “1ère rencontre avec Douala” depicts her journey through Cameroon ‘s economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture’s rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series “1ère rencontre avec Douala” depicts her journey through Cameroon's economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture’s rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series 1ère rencontre avec Douala depicts her journey through Cameroon's economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architectures rigor and poetical chaos of life and vegetation.

In 2017, Chourouk Hriech brought her drawing book when she was invited to the Salon Urbain de Douala. Composed of twenty-two drawings with Indian ink, the series “1ère rencontre avec Douala” depicts her journey through Cameroon ‘s economic capital. With her lively and sure stroke, Chourouk Hriech walks the streets and captures architectures like ordinary scenes, guided by her vehement interest for the relation between architecture’s rigor and poetical chaos of life and vegetation.

Chourouk Hriech conceived Paloma as a large fresco spread out on four panels, thus monopolizing our visual range. The viewer is immersed in the artwork through a play on perspectives where elements are intertwined according to different viewpoints. Architectural details such as typical Andalusian arcs meet vegetal elements, boats and vases. This creates  an environment that is neither completely a landscape nor an interior space. The differences in scales invite us to navigate in this atmosphere. The artist conceived this chimera-drawing as the evocation of a journey and as a testimony of encounters between cultures.