Interview: Farid Izemmour
Luca Curci talks with Farid Izemmour during FUTURE LANDSCAPES, third appointment of BORDERS Art Fair 2020, at Palazzo Albrizzi-Capello.
Farid Izemmour is a Swiss Citizen with Algerian origin, He was born on September 24th, 1961 in Algiers. Farid discovered his attraction for drawing at the Lycée Hamis in Algiers. In 1978, a professor noticed his talent and enrolled him in the School of Fine Arts of Algiers. Reluctant to follow a preconceived study pattern, Farid instinctively heads into the field of health fueled by a desire to be useful. Freshly graduated with a bachelor’s degree as an instrumentalist, Farid flew to Switzerland in 1990 following popular unrest in his native country where he feared that he would no longer be able to apply his philosophy of life. He became a Swiss citizen in 1993. Farid quickly revived his taste for painting and created an amalgam of works springing up between 1991 and 1994 following research he carried out, notably touching on Classicism, Expressionism and Dadaism. Farid finally recognizes himself through Abstraction. Calligraphy accompanied Farid throughout his research process and eventually became his specialty – forging his own style and working methodology. With 30 years of experience, Farid continues till today to explore this ancestral art by constantly renewing it through explorations of lines and textures.
Luca Curci – What is art for you?
Farid Izemmour – Art is part of everyone’s life. It’s a language that everyone uses in his own way, free of all constraint and commitment. Art is the dialogue between cultures, a therapy for our behavior that should bring people together when everything else would separate them.
LC – Which subject are you working on?
FI – TRACES is the main series of paintings I’m currently focused on. It’s a deep research of the artistic language, and the depth of the lines, colour, volume and textures. I use letters not for calligraphy. Letters represent an individual memory, if it is linked to other letters to form a word it becomes collective memory. I have two inseparable axes: abstraction and expressionism. I tried to separate them in the past, but it’s not possible cause abstraction works by the essence of expressionism.
LC – What is your creative process like?
FI – Very complex and not cataloged. But my creative process is based on two principles: Order / Disorder: what does it mean? 1st: It is a fundamental principle in our cyclical lifes, an intimate link between these two inseparable principles applied in a multitude of scientific or literary ways. The main lines must be formed to fit together and above all give a meaning to its execution. 2nd: I must define the size : the size is very important in the execution of a work to be the most faithful to its creation, then comes the subject. 3rd step: I work essentially on the ground, this allows me to dominate my work, and to have a technical mastery for different applications of acrylic paint, ink, and other pastes for the modeling of shapes I have a vision around the canvas, I always put a plain background color chosen from the start on the canvas that allows me to activate my connection with the canvas, I am ready. The choice of shapes, textures and colors is carefully thought out, I gather all the favorable parameters for the execution. There is a force of attraction of the work and of the artist that I have no words to describe. I am in a mode to feed this canvas with care and sometimes with more rigor and strength.. Knowing when to stop, at the right moment, is a complex exercise that combines narcissism and self-censorship. It is where I find myself with these lines, these features, these forms that begin to give meaning, my work works. The sadness comes after finishing a painting. I feel a total emptiness that gradually dissipates and leaves room for the next project.
LC – Are your artworks focused on a specific theme?
FI – Yes. I am interested in human with history and its multiple ways of communicating: language, letters, gestures. I loved and I still love letters because of their figurative and artistic power, which lets the viewer, find himself between CALLIGRAPHY or ART. I am not a calligrapher. I don’t belong to a category even if the people would consider me as a calligrapher. My art is a continuity of W. Kandinsky and my beloved J. Pollock.
LC – How is being an artist nowadays?
FI – As far as I am concerned, I hold a full-time job as a sales manager and consultant in a company that produces surgical implants for the field of orthopedic surgery and traumatology. I am a self-taught painter engaged in artistic creation. I work in my studio two hours a day in the evenings, and part of the weekends.
LC – We were attracted by your last artistic production, has the artwork presented been created for the festival or as a part of preexisting works?
FI – The artwork were not prepared for the festival. It’s part of the pre-existing collection TRACES that you can find on my website.
LC – Do you agree with our vision of art and what do you think about the theme of the festival?
FI – First of all I would like to sincerely thank Mr. Curci and his team especially Mrs. Tassi for their support and their availability & professionalism. I am delighted to collaborate with ITSLIQUID, it is a serious institution that works to make discover talents that were not lucky in the galleries, this gathering of different cultures and the very essence of your spirit that I totally share.
LC – Would you suggest a collaboration with us? What do you think about our services?
FI – Absolutely, I am totally happy with your services. I would totally participate in your upcoming events.
LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
FI – This is the magic that happens when an artistic event takes place with collectors, art galleries, also critics and media. This is where synergies are born.
LC – Did you enjoy cooperating with us?
FI – Absolutely. Thank you.