Metaphors by Emerging Syrian Photographer Jaber Al Azmeh

14 Mar 2009
20 Apr 2009

L4 ProLine50- 34 x 25, edition of 12.JPG -

Green Art Gallery is pleased to present Metaphors, the first solo show for emerging Syrian photographer Jaber Azmeh, presenting a new series of photographic works.

In this series, the artist has chosen the subject of horses as a form of abstraction, not as a technique but as a concept. Jaber's work is a mixture of lines, space, crop and light, thereby rendering these images as an illusion or dream. Although they may seem as simply photographs of horses, upon further observation it becomes apparent that some may actually depict mountains while others look like sand dunes or even the curves of a woman's body. Hence the name Metaphors since each photographic work can have more than one meaning to the same viewer.

Horses are an old subject in art. Jaber was aware that he was tackling a subject through photography after leading figures had earlier specialized in such work. These include Yann Arthus Bertrand, who created a famous photographic Iliad of “The Ground from the Sky,” then worked for 15 years on creating pictures of horses. The work is considered a reference-point for any artist depicting these creatures, in which their captivating personality is observed, along with how they relate to humans and humans to them.

In addition to contemporary art, we cannot forget the works of the horseman Bartabas, presented in the Zingaro Theater of contemporary equestrian performance (Cirque Aligre). There, the scenes of his works based on horses are transformed into the necessary visual reference-point for those who take up this subject. This type of performance can transform the horse, by moving it and varying light projections to something loftier than what is represented before our eyes. These references lead to woman, or to climax, or perhaps to a magical state, especially when these works are transferred to cinema, video or other visual medium.

Taking such figures as an inspiration to his work, Jaber wants us to experience his works further. Whilst he composes a visual material in which visions and prophecy are obscured, Jaber awaits us to complete a delusion of our own, related to distance (viewing distance) and the extent of our ability to view clearly or deviate, and perhaps another delusion as well, related to the distance (from the subject) and our ability to imagine.

Between the first lines of light that reach the surface of our plane, the first light that reaches the spectrum of the universe, the first viewing of the edge of a black hole, the first embodiment of the deluge as it dashes forward, the first visual touch of a hairy arm, or the pang of desire that pushes fingers into the hair of a loved one…

Between these firsts, our questions continue as we contemplate the work: Is the peach a horse? Can we let go of Joy?