The opulence of fine silky strokes seen in Saïd Kahla's work gives one the impression of rediscovering well-grazed labyrinths. The forms barely touch the canvas, capturing sensuality, then gliding away into emptiness.
Saïd Kahla's work reveals a transmission from the mental to the organic, paradoxically reversing, entering the infinity of time and space through a mere cleft, which gives way to unrestricted, but soufist jubilation as conceived by the distinguished Moroccan Ahmed Cherkaoui, who was a great reader from Ibn Arabi. This result is a mystic joy nourished by the immediacy of the ordinary and the absolute trite, enraptured in the memory of a thousand year old, deeply rooted, both sensual and vicious human history.
What follows is a minute inventory, where a line is drawn, a sign set, ejecting the shapes and figures of existence and of the world; this is a way of characterizing the slippery and escaping elements of a comatose reality.
In some of the pictures there are traces reminding of bruises suffused with blood, merging with mascara-blue and carbide-white, colours which delighted us a children. Certain rust colours, shades of umber and brown seem to display a pictorial metallurgy, showing a great erudition and passion of the world.
It is Kahla's
discrete and generous manner, his wonderful potential that moves us
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