Composition 41
FENEHARI Sarah
2019
Height: 30cm – Width: 30cm
Acrylic on canvas, resin

ARTISTIC APPROACH:                                    

    "Remember that a painting, before being a battle horse, a nude woman or any anecdote, is essentially a flat surface covered with colors assembled in a certain order."                                                        

                                                                         Maurice Denis, Art et Critique, article, 1890.

FENEHARI Sarah’s work focuses on creating immersive sensory experiences between the viewer and the chromatic universe she unfolds through her artworks. Her compositions aim to free color from any figurative representation, allowing for a direct and pure interaction. In this dialogue, color becomes a living material, an echo of nature in its most essential dimension: the vibration of light on water, the transparency of foliage bathed in sunlight, the density of a cloudy sky... Her works do not seek to reproduce nature, but to reveal its sensitive energy, its invisible force.

FENEHARI Sarah is interested in how spectators' imagination manifests itself when faced with these color fields. Some project forms onto them, as an attempt to anchor or understand, while others surrender to the experience, accepting color as one accepts the presence of a landscape: an immersion that is lived rather than described. It is in this apparent simplicity that the greatest complexity lies. Calling her works "COMPOSITION" suggests both an inner construction and an opening: a space for interpretation where the viewer regains the freedom to perceive color as a natural element, a raw material that connects them to their own imagination, but also to the surrounding environment.

The techniques used by the artist aim to minimize any visible trace of her intervention. Her creative process deliberately fades away, making it almost impossible to guess the origin, stages, or tools used for the realization. This absence of a technical signature acts as an analogy with nature itself: everything seems to "go without saying," without always revealing the forces at play.

Thus, the work exists by itself, as an autonomous presence, between the silence of materials and the attention of the spectator. It stands at the border between art and nature, not in reproduction, but in the experience of a living chromatic presence that breathes and evolves in the eye of the beholder.