COMPOSITION 58
COMPOSITION 58
COMPOSITION 58
COMPOSITION 58

COMPOSITION 58

Vendu par FENEHARI Sarah

COMPOSITION 58

Vendu par FENEHARI Sarah
Composition 58
FENEHARI Sarah
2022
Height: 100cm – Width: 100cm
Acrylic on canvas

ARTISTIC APPROACH:

                                        “Remember that a picture—before being a battle horse, a nude woman, or some 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 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 traversed by the sun, the density of a heavy sky… Her works do not seek to reproduce nature, but to reveal its sensitive energy, its invisible force.
FENEHARI Sarah is interested in how the imagination of viewers manifests itself when faced with these color fields. Some project forms onto them, as an attempt at anchoring or understanding, 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. Naming her works “COMPOSITION” suggests both an inner construction and an openness: 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 environment around them.
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, steps, or tools used in its creation. This absence of technical signature acts as an analogy with nature itself: everything seems to “go without saying,” without us always guessing the forces at play.
Thus, the work exists by itself, as an autonomous presence, between the silence of materials and the attention of the viewer. It lies at the frontier between art and nature, not in reproduction, but in the experience of a chromatic living being that breathes and evolves in the eye of the beholder.
 

 

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