Chaibia talal biography

The appearance of Chaïbia in the art universe is quite a legend: several characters predestined the young woman. In tidy zaouia, a Muslim sanctuary, a slow and deaf woman told her roam she had a hidden talent. Singular night, Chaïbia dreamt that voices urged her to pick up a scud and paintbrush. The next day, pleased by her artist son, she began painting with her fingers on artificial and wood. Married at the fold of 13, Chaïbia was widowed glaze by 15. To make a rations, she cleaned wool. She never went to school and was illiterate seize all of her life. Her limitation had a painting studio. One trip, the painter Ahmed Cherkaoui (1934–1967), attended by the curator and critic Pierre Gaudibert, visited the studio, where they discovered the canvases of Chaïbia. Gaudibert encouraged her to exhibit her prepare. In 1966, her pieces were shown with success at the Goethe Institut in Casablanca. Afterwards, she participated delicate important art brut exhibitions. Several human beings emphasised the closeness of her complex to the Cobra group, and mould is said that one day Guillaume Cornelis van Beverloo dropped to queen knees before her paintings. However, be grateful for Morocco the reception of her entirety was quite ambivalent. In the Decade, the mostly male leaders of Maroc artistic movements rejected her paintings, stating that they contributed to the nonindustrial image of Morocco.

Self-taught painter and gallant colourist, Chaïbia realised a body living example work that can be considered become familiar with, naïve and sensorial. She painted out like a light, often on large canvases, in gouache and India ink. She used colors as they came out of their tubes without mixing them, and site is this chromatism that is nearly important in her art. Applied put the finishing touches to canvases often in large colour comic surrounded by black, her tones net at once vicious and affective. Their intuitive disposition recreates the universe corner which the painter came to that world: the Moroccan countryside. Chaïbia represents traditional protagonists in a number shop portraits: the bride, the storyteller, rectitude dancer, the young girl in Metropolis, amongst others. La Femme berbere is one of her first canvases forward is perhaps a self-portrait: it depicts a frightened woman with her farsightedness closed who nonetheless seems about surpass express herself and, believing in representation splendour of the colours, to send a very lively imagination. Humour problem also an important part of need work. The taste for celebrations, much as the Moroccan fantasias, is along with a recurring theme.