Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
Oussama Baalbaki sits in a plush armchair. Legs folded, he gazes down to his right foot, which he holds in his left hand. Baalbaki's self-portraits are in a similar vein. In photo-realistic detail, each provides a snapshot of the artist engaged in a mundane task or in a seemingly unguarded moment. Based on photographs taken by the artist's wife – who also translated the interview with Baalbaki – the works appear realistic. Alongside Baalbaki's portraits, "Shadows of Gloominess" includes a still life and 10 landscapes, which capture the beauty of Lebanon's mountainous countryside, lingering over the scars left on them by human intervention – from mountainside telephone poles to the rusting carcasses of cars, left to rot in the fields.In Baalbaki's black-and-white landscape "The Death Leap," human impact is more obvious.These landscapes are rendered with larger, more textural brushstrokes than Baalbaki's careful self-portraits and enlivened by a sense of movement.There seems to be a formal-conceptual contradiction in Baalbaki's work between the traditional approach to painting and the intellectual effort he requires from viewers wishing to decipher his contemporary themes.
Visions of a public Dalieh
Sidon archaeological site alters global views
Capturing consumption on camera
FOLLOW THIS ARTICLE