The opulence of fine silky strokes seen in Sad 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.

Sad 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 beyond limits.


Rachid Boudjedra 1999
algerian author

Translation from French by
Beverly Lloy-Schmitt