Les Anneaux, 2020
Acrylic and oil on canvas.
CM H 130 W 160
IN H 51.18 W 62.99Certificate of authenticity - Signed by artist
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Les Anneaux, 2020
From a social point of view, Béchir's paintings extend like 'fields of deployment of social relations of class, nature, community identity, origin, and perspectives.
These fields are then structured according to the relations of force, domination, will, resistance, alternative which animate the social actors and their organisational, representative, political and other powers. The very essence of territorialized social construction, which Jean-Jacques Gislain - researcher at the Centre de recherche sur les innovations sociales and doctor in economic and social sciences - refers to in his essay "Futurités et toposités: situologie des perspectives de l'action". In his article he notes that "In the field of human geography, as in any science of society, we find with more or less emphasis the epistemological cleavage between methodological holism and individualism. With regard to the object "territory", this cleavage is rooted in the point of view adopted: that of "social actors" or that of "individuals".
Béchir's work refers to theoretical approaches of a cognitivist type - analysing the spatial dimension of individual action on the basis of the actor's personal or shared/distributed mental representations (his learning and knowledge of 'space') and the constraints (spatial resources/obstacles) that the actor encounters in his intentions to act) - and an interactionist type (particularly in line with the work of Erving Goffman (1991). The individual actor is then apprehended in a symbolised reality made up of "situations" of "transactions" between individuals, between the individual and his spatial context and in triangulation self/other/common spatial background. In this perspective, the situated action is therefore part of a social/symbolised interindividual spatialised construction). 1
What makes a territory belong to a territory? How does the "hegemonic" nature of social structuring influence the actions, perspectives and in-fine identity of its actors? The actors present in Béchir's paintings appear in a privileged relationship with their own territory (identity) and often in an unexpected way in relation to the space in which they are present.
Bechir Boussandel's work questions identity by questioning the space of time and the time of space. He is interested in the boundaries that seem to exist between intimate and public space. Most often, the demonstration of this duality involves everyday objects whose function is related to territory, mobility, appropriation or habitat.
The creative process that Boussandel puts in place most often begins with a photograph that allows him to capture and isolate the subject that interests him. This photograph is later translated into the plastic approach.
From the observation of the photographic image, a decontextualization of the object appears. A reproduction by drawing follows, then a transposition by painting intervenes. The alteration by colour, the 3D aspect, the play of materials, shadows and light create a sought-after imbalance and an impossibility to use or identify the subject. Appearances become deceptive. It is in this sense that Boussandel questions the place of the being in his environment and the capacity of the latter to appropriate it. Boussandel's works offer a pictorial field halfway between visible and invisible, between abstraction and figuration.Read more
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