Chourouk Hriech

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In A day to draw #1, Chourouk Hriech depicts a lush landscape without genuine depth, and where the perspectives intertwine, associating vegetable and animal worlds. In this context, the artist is interested in the birds located at the bottom-left, which seem to look for their pathway before flying away in this world equally fantasized than composed by elements of our times. Considering the drawing as a trajectory, she depicts an overview of the human history through the observation of these birds and proposes a reflection about the loss of the natural essence of elements caused by our modern era.

Exhibition:
- Solo show, Art Dubai 2019, Section Bawwaba, curated by Elise Atangana, Dubai, United Arab Emirates, 2019

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The "Byblos" series was produced for the group exhibition "Voyages immobiles" at La Poste du Louvre in Paris in 2021, curated by Jérôme Sans. The series of Indian ink drawings evokes a dreamlike cartography and a nomadic or imaginary stroll through the fantasy worlds of Byblos in Lebanon, one of the oldest continuously inhabited cities in the world. The series is based on stories and images, rewriting a fantasised environment in the light of the artist's own experience of this UNESCO World Heritage site.

The "Byblos" series was produced for the group exhibition "Voyages immobiles" at La Poste du Louvre in Paris in 2021, curated by Jérôme Sans. The series of Indian ink drawings evokes a dreamlike cartography and a nomadic or imaginary stroll through the fantasy worlds of Byblos in Lebanon, one of the oldest continuously inhabited cities in the world. The series is based on stories and images, rewriting a fantasised environment in the light of the artist's own experience of this UNESCO World Heritage site.

The "Byblos" series was produced for the group exhibition "Voyages immobiles" at La Poste du Louvre in Paris in 2021, curated by Jérôme Sans. The series of Indian ink drawings evokes a dreamlike cartography and a nomadic or imaginary stroll through the fantasy worlds of Byblos in Lebanon, one of the oldest continuously inhabited cities in the world. The series is based on stories and images, rewriting a fantasised environment in the light of the artist's own experience of this UNESCO World Heritage site.

The "Byblos" series was produced for the group exhibition "Voyages immobiles" at La Poste du Louvre in Paris in 2021, curated by Jérôme Sans. The series of Indian ink drawings evokes a dreamlike cartography and a nomadic or imaginary stroll through the fantasy worlds of Byblos in Lebanon, one of the oldest continuously inhabited cities in the world. The series is based on stories and images, rewriting a fantasised environment in the light of the artist's own experience of this UNESCO World Heritage site.

To produce this artwork, Chourouk Hriech used birds drawn by the ornithologist John James Audubon between 1827 and 1839 in The Birds of America. She positions theses coloured animals in front of a vertical, brutalist and modernist architecture, to establish a temporal contrast between the two objects. Hence, the artist emphasizes on the appropriation of knowledge and notably of these birds' images, by questioning the loss of meaning that our modern societies generate to the naturalist's original motives.

To produce this artwork, Chourouk Hriech used birds drawn by the ornithologist John James Audubon between 1827 and 1839 in The Birds of America. She positions theses coloured animals in front of a vertical, brutalist and modernist architecture, to establish a temporal contrast between the two objects. Hence, the artist emphasizes on the appropriation of knowledge and notably of these birds' images, by questioning the loss of meaning that our modern societies generate to the naturalist's original motives.

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Birds are a recurrent pattern in Chourouk Hriech's work, symbolizing the spiritual and realisation of the drawing as a trajectory. Working exclusively in black and white, the artist chooses to draw these dazzling and phantasmatic animals in colour for the first time. Confronted to the loss of species, she intends to change her artistic habits to emphasize on the emergency of their situation.

Birds are a recurrent pattern in Chourouk Hriech's work, symbolizing the spiritual and realisation of the drawing as a trajectory. Working exclusively in black and white, the artist chooses to draw these dazzling and phantasmatic animals in colour for the first time. Confronted to the loss of species, she intends to change her artistic habits to emphasize on the emergency of their situation.

Birds are a recurrent pattern in Chourouk Hriech's work, symbolizing the spiritual and realisation of the drawing as a trajectory. Working exclusively in black and white, the artist chooses to draw these dazzling and phantasmatic animals in colour for the first time. Confronted to the loss of species, she intends to change her artistic habits to emphasize on the emergency of their situation.

Birds are a recurrent pattern in Chourouk Hriech's work, symbolizing the spiritual and realisation of the drawing as a trajectory. Working exclusively in black and white, the artist chooses to draw these dazzling and phantasmatic animals in colour for the first time. Confronted to the loss of species, she intends to change her artistic habits to emphasize on the emergency of their situation.

Birds are a recurrent pattern in Chourouk Hriech's work, symbolizing the spiritual and realisation of the drawing as a trajectory. Working exclusively in black and white, the artist chooses to draw these dazzling and phantasmatic animals in colour for the first time. Confronted to the loss of species, she intends to change her artistic habits to emphasize on the emergency of their situation.

In Le Monde entre leurs mains, Chourouk Hriech presents a series of black-and-white photographs that take tattooed youth as their subject. Each model holds a world’s map in his hands, deploying a particular gesture. The artist seeks to develop a dialogue between the images printed on the globe, and these drawings engraved on the skin, evoking the life adventures, dreams and ambitions of each model. These representations of the world inevitably escape them because the figures and symbols evolve with the times. Nevertheless, by choosing to assert themselves through tattoos, these young people defy time, future and reality. Thus, Chourouk Hriech pushes the practice of drawing further by multiplying the mediums to explore its potentialities and its materializations.

In Le Monde entre leurs mains, Chourouk Hriech presents a series of black-and-white photographs that take tattooed youth as their subject. Each model holds a world?s map in his hands, deploying a particular gesture. The artist seeks to develop a dialogue between the images printed on the globe, and these drawings engraved on the skin, evoking the life adventures, dreams and ambitions of each model. These representations of the world inevitably escape them because the figures and symbols evolve with the times. Nevertheless, by choosing to assert themselves through tattoos, these young people defy time, future and reality. Thus, Chourouk Hriech pushes the practice of drawing further by multiplying the mediums to explore its potentialities and its materializations.

In this drawing, Chourouk Hriech invents a floating world similar to Japanese landscapes, where vegetation, animals and geometrical shapes come together through a process of ornamentation akin to cave painting. Without representing them, she suggests through the lines, birds that are flying away. Hence, she creates a continuity between the kimono fabric, and the animal wings spread.

In this drawing, Chourouk Hriech invents a floating world similar to Japanese landscapes, where vegetation, animals and geometrical shapes come together through a process of ornamentation akin to cave painting. Without representing them, she suggests through the lines, birds that are flying away. Hence, she creates a continuity between the kimono fabric, and the animal wings spread.

In this drawing, Chourouk Hriech invents a floating world similar to Japanese landscapes, where vegetation, animals and geometrical shapes come together through a process of ornamentation akin to cave painting. Without representing them, she suggests through the lines, birds that are flying away. Hence, she creates a continuity between the kimono fabric, and the animal wings spread.

Dans ces dessins, Chourouk Hriech représente des lieux où se mêlent des éléments architecturaux et végétaux appelant à une grande sérénité, comme des endroits idylliques du quotidien. Comme souvent dans sa pratique elle mêle des éléments réels desquels elle s'inspire lors d'un voyage et des éléments imaginaires et fantasmés. Dans ces intérieurs dessinés en noir et blanc, chaque ouverture sur le dehors laisse apparaître des paysages profonds, composés d'une nature verdoyante. Ainsi, elle superpose des architectures urbaines, ici inspirées de Madrid (une salle du Palais de l'Alcazar, une ruelle encombrée,...), et des horizons bucoliques impossibles. De cette manière, elle installe un jeu dans la perspective qui invite à une ouverture, un possible, une nouvelle façon de concevoir l'espace pour aller vers un monde rêvé.

This series is composed by thirteen drawings performed with Indian ink during a trip in Dubai in 2019. In these drawings Chourouk Hriech uses different perspectives where elements are  intertwined. She mixes traditional and modern architectures with every day and imaginary objects, maps, and vegetal landscapes. Temporalities and spaces become muddled : the historic city and the more modern elements create a futuristic environment paced by poetic and symbolic objects inspired by the imaginary of the country.

This series is composed by thirteen drawings performed with Indian ink during a trip in Dubai in 2019. In these drawings Chourouk Hriech uses different perspectives where elements are  intertwined. She mixes traditional and modern architectures with every day and imaginary objects, maps, and vegetal landscapes. Temporalities and spaces become muddled : the historic city and the more modern elements create a futuristic environment paced by poetic and symbolic objects inspired by the imaginary of the country.

This series is composed by thirteen drawings performed with Indian ink during a trip in Dubai in 2019. In these drawings Chourouk Hriech uses different perspectives where elements are  intertwined. She mixes traditional and modern architectures with every day and imaginary objects, maps, and vegetal landscapes. Temporalities and spaces become muddled : the historic city and the more modern elements create a futuristic environment paced by poetic and symbolic objects inspired by the imaginary of the country.

Chourouk Hriech visited Tel Aviv during her exhibition in the Centre for Contemporary Art in 2018. As often during her journey abroad, the artist drew a series entitled “Tel Aviv’s lines” depicting her discoveries and exploration of the city in black and white. The brand-new buildings stand alongside the dilapidated ones, highlighting the continual transformation of the space. These drawings allude to Mediterranean architectures, as well as Bauhaus influences and the big Californian streets with the play of light and shade. In this architectural panorama, Chourouk Hriech emphasizes on the contrast between the hard stroke of the buildings and the disordered vegetation.

Chourouk Hriech visited Tel Aviv during her exhibition in the Centre for Contemporary Art in 2018. As often during her journey abroad, the artist drew a series entitled “Tel Aviv’s lines” depicting her discoveries and exploration of the city in black and white. The brand-new buildings stand alongside the dilapidated ones, highlighting the continual transformation of the space. These drawings allude to Mediterranean architectures, as well as Bauhaus influences and the big Californian streets with the play of light and shade. In this architectural panorama, Chourouk Hriech emphasizes on the contrast between the hard stroke of the buildings and the disordered vegetation.

Chourouk Hriech visited Tel Aviv during her exhibition in the Centre for Contemporary Art in 2018. As often during her journey abroad, the artist drew a series entitled “Tel Aviv’s lines” depicting her discoveries and exploration of the city in black and white. The brand-new buildings stand alongside the dilapidated ones, highlighting the continual transformation of the space. These drawings allude to Mediterranean architectures, as well as Bauhaus influences and the big Californian streets with the play of light and shade. In this architectural panorama, Chourouk Hriech emphasizes on the contrast between the hard stroke of the buildings and the disordered vegetation.

Chourouk Hriech visited Tel Aviv during her exhibition in the Centre for Contemporary Art in 2018. As often during her journey abroad, the artist drew a series entitled “Tel Aviv’s lines” depicting her discoveries and exploration of the city in black and white. The brand-new buildings stand alongside the dilapidated ones, highlighting the continual transformation of the space. These drawings allude to Mediterranean architectures, as well as Bauhaus influences and the big Californian streets with the play of light and shade. In this architectural panorama, Chourouk Hriech emphasizes on the contrast between the hard stroke of the buildings and the disordered vegetation.

Chourouk Hriech visited Tel Aviv during her exhibition in the Centre for Contemporary Art in 2018. As often during her journey abroad, the artist drew a series entitled Tel Aviv's lines depicting her discoveries and exploration of the city in black and white. The brand-new buildings stand alongside the dilapidated ones, highlighting the continual transformation of the space. These drawings allude to Mediterranean architectures, as well as Bauhaus influences and the big Californian streets with the play of light and shade. In this architectural panorama, Chourouk Hriech emphasizes on the contrast between the hard stroke of the buildings and the disordered vegetation.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech frequently takes inspiration during her travels. In this series, she depicts a journey in Thailand which becomes the central subject of her drawings. These artworks become a travel diary where the artist captures the essence of her subject with quick strokes, illustrating buildings, streets or objects that interested her during this journey.

Chourouk Hriech draws her inspiration from Japanese art, as for the typical water pattern than the kakemono format. To create this artwork, she combines foreign influences and French handicraft expertise with the traditional technique of ‘Aubusson’ tapestry. The artist represents a waterfall with black lines and colour addition of blue. Vegetation elements around the waterfall suggest a natural and poetic landscape, reinforced by the allusive title.

When drawing, Chourouk Hriech uses different tools and media. Indeed, her practice does not stop to pure drawing, but she makes a use of all its forms, including performance. In Effeuillages, the artist puts on a performance in a swimming pool where she draws from memory flowers by setting her sketchbook on her head. Once finished, she detaches them and lets them float on the surface of the water. Considering drawing as a trajectory, she pursues a reflection, in this performance and more generally in her whole work, on the disparition of trajectories and on the print we can keep of it. By letting wander these flowers on water, Chourouk Hriech makes a double call to memories of shapes and elements.

Video's link: https://vimeo.com/330743813

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. 

In Bird's fountain, a woman carries a jug that fills up from an unknown source and overflows onto her immaculate white toga. The woman turns on itself and stares at us. Her gaze becoming increasingly intense as the water gradually darkens.
Evoking the French popular proverb: "Tant va la cruche à l'eau qu'à la fin elle se casse", this video makes multiple references to "La pluie" by Marcel Broodthaers (1969), to the women's bodies in "Rebecca et Eliezer" by Nicolas Poussin (1643), and finally to the potter's wheel suggested here by the model who spins on himself, and whose water and ink shape his expressions as they are poured over him.

Video's link: http://vimeo.com/215862408
Password: fountain

In Bird's fountain, a woman carries a jug that fills up from an unknown source and overflows onto her immaculate white toga. The woman turns on itself and stares at us. Her gaze becoming increasingly intense as the water gradually darkens.
Evoking the French popular proverb: "Tant va la cruche à l'eau qu'à la fin elle se casse", this video makes multiple references to "La pluie" by Marcel Broodthaers (1969), to the women's bodies in "Rebecca et Eliezer" by Nicolas Poussin (1643), and finally to the potter's wheel suggested here by the model who spins on himself, and whose water and ink shape his expressions as they are poured over him.

Video's link: http://vimeo.com/215862408
Password: fountain

Exhibition
- Le dessin, autrement, Galerie de l'Etrave, curator Pilippe Piguet, Thonon-Les-Bains, France, 23th june- 23 September 2017

Exhibition
- Le dessin, autrement, Galerie de l'Etrave, curator Pilippe Piguet, Thonon-Les-Bains, France, 23th june- 23 September 2017

"In those videos, children from the New Bell Aviation school (Douala, Cameroon) become storytellers. The tales are improvised from my own repertory's grammar: architecture, waves, shorelines, stars and ships, maps and birds, plants. Thus standing in front of a chosen drawing, without any filter, they embody the portraiture of the Cameroonese society.
My encounter with Douala is a story of tracks and traces, trajectories and paths. A territory in which I have searched to decypher, through the act of drawing, the mecanisms and stakes of the meaning that art could bring to reality."
Chourouk Hriech, 2017

"In those videos, children from the New Bell Aviation school (Douala, Cameroon) become storytellers. The tales are improvised from my own repertory's grammar: architecture, waves, shorelines, stars and ships, maps and birds, plants. Thus standing in front of a chosen drawing, without any filter, they embody the portraiture of the Cameroonese society.
My encounter with Douala is a story of tracks and traces, trajectories and paths. A territory in which I have searched to decypher, through the act of drawing, the mecanisms and stakes of the meaning that art could bring to reality."
Chourouk Hriech, 2017

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.

Recalling the idea of an observation table or of the furniture in the museum of Natural History, The conference of birds reflects a poetic composition of lines and objects, halfway between a collection of meticulous samples and a cartography. Reality is in fact a systematic starting point in Chourouk Hriech's work, then adorned with decorative motifs, references to travels, collected objects, historic and litterary references.
Here, the figure of the bird echoes the idea of escaping, travelling, migrating and discovering unknown lands, while that of the shell stands for our most secretive and mysterious inner worlds. The work thus becomes an open letter to the viewer, where reading keys could change, depending on whether we are 8 or 77 years old.

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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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 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 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 Dehors #1, Chourouk Hriech emphasizes on the details of a building. She plays on the shadows and the patterns to attract the viewer's eyes on a contrast: the walls comprise vegetal ornaments, and vegetation grows on the roof.

Collection MAC VAL, Vitry-Sur-Seine, France

In this series of drawings, Chourouk Hriech creates chimeras from tangled geometric shapes, similar to origami. She decorates these compositions with elements of fauna, like animals’ heads or skeletons which contrasts with the initial patterns. The trapezium format of the drawing reinforces its unusual aspect.

In this series of drawings, Chourouk Hriech creates chimeras from tangled geometric shapes, similar to origami. She decorates these compositions with elements of fauna, like animals’ heads or skeletons which contrasts with the initial patterns. The trapezium format of the drawing reinforces its unusual aspect.

This artwork is an installation of wood and metal. This medium is quite new for Chourouk Hriech because she creates this sculpture from recovered objects: a painted oar and two crafted pheasants. She represents these birds - a frequent figure in her work - face to face on a suspended oar, creating an absurd and poetic scene, alluding to surrealists’ combination to a some extent.

This artwork is an installation of wood and metal. This medium is quite new for Chourouk Hriech because she creates this sculpture from recovered objects: a painted oar and two crafted pheasants. She represents these birds - a frequent figure in her work - face to face on a suspended oar, creating an absurd and poetic scene, alluding to surrealists’ combination to a some extent.

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.