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In the artistic epicenter of Beirut, nestled in the Gemmayze District, artist Samir Tamari unveils his pictorial world from September 1st to the 9th. This solo exhibition showcases an enthralling collection of acrylic canvases, fluidly meandering between refined abstraction and poignant figurative elements.
Curated by Dr. Tony Karam, this artistic anthology heralds a cultural renaissance in early September. It is worth emphasizing that the endeavor also has a philanthropic dimension: a portion of the proceeds will be devoted to the altruistic initiative of Rebirth Beirut, aimed at restoring the luster of the Lebanese capital.
Born in Beirut, Samir Tamari displayed artistic proclivities in drawing and painting from a young age. His skills were further honed in the academic milieu of Montreal, Canada, where he pursued studies in both arts and advertising techniques.
Tamari draws significant inspiration from the idyllic landscapes of Bekaa, particularly Saghbine, his mother’s ancestral village. Immersed in its bucolic authenticity, Tamari found fertile ground to nourish his aesthetic sensibilities, developing a more acute affinity for color and form. This environment has acted as a crucible for powerful emotional experiences, which he skillfully transmutes into visual art for the delight of his audience.
“I do not paint as a technician, but as an interpreter of the soul,” Tamari articulates, illuminating his unique artistic ethos. Each work functions as a visual enigma, obliging the viewer to decipher underlying, cryptic messages.
For instance, one of his canvases humorously encapsulates the complexities of marital life. It portrays a man spying on his neighbor through binoculars while, in a twist of irony, his own wife brandishes a broom in pursuit, all captured on a singular canvas.
Tamari also addresses existential transience, invoking the iconic concluding phrase of cartoons, “That’s All Folks.” His oeuvre narrates vignettes of everyday life that while occasionally mundane are rife with veracity and humor.
Furthermore, he reinterprets the ancient game of Snakes and Ladders, as a metaphorical depiction of life’s vicissitudes. Particularly, he captures the oscillating fortunes of the Lebanese citizenry during times of strife. “My style has this quality of awkward sincerity, especially in my figurative works,” Tamari declares. “It is vibrant, authentic, imbued with real-life observations and analogies.”
The artist adeptly juxtaposes the somber hues of life with a lighter, more personalized lens, achieving a nuanced equilibrium between content and form.
In his abstract works, Tamari’s technical mastery is particularly evident. He applies layer upon layer of acrylic, inducing an intense emotional response and creating an arresting depth effect. Strategic use of white spaces enhances the central saturation, inviting contemplation of the concealed message.
Betty Boop, the recurring figure in this collection, appears in playful cameos across the canvases, serving as a recurring symbol of life’s irony and uncertainties.
In summation, Tamari’s exhibition is a sojourn into contemplation and escapism, a refreshing reprieve that mitigates the weight of quotidian stresses. His pieces act as nuanced winks to life’s complexities, offering moments of relief that not only dissipate stress but also invoke smiles.
