
Marie Zolamian
SA MUE

SA MUE, Marie Zolamian, exhibition view, Bombon projects, Barcelona, 2024
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SA MUE, Marie Zolamian, exhibition view, Bombon projects, Barcelona, 2024

SA MUE, Marie Zolamian, exhibition view, Bombon projects, Barcelona, 2024

SA MUE, Marie Zolamian, exhibition view, Bombon projects, Barcelona, 2024

Solastalgia, MarieZolamian, 41 x 31,5cm, oil on canvas on panel, 2022

Suc, MarieZolamian, 40 x 30cm, oil on canvas on panel, 2023

Sun is shining, MarieZolamian, 30 x 40cm, oil on canvas on panel, 2023

Admonestation, MarieZolamian, 41 x 31cm, oil on canvas on panel, 2022

Avoir le boulard, MarieZolamian, 40 x 30cm, oil on canvas on panel, 2023

Bonneteau, MarieZolamian, 31 x 53cm, oil on canvas on panel, 2024

Canari dans la mine, MarieZolamian, 30 x 40cm, oil on canvas on panel, 2023

Concussion, MarieZolamian, 40 x 30cm, oil on canvas on panel, 2023

Ensuquer, MarieZolamian, 51 x 61cm, oil on canvas on panel, 2024

Faquins, MarieZolamian, 30 x 40cm, oil on canvas on panel, 2024

Hybris, MarieZolamian, 55 x 70cm, oil on canvas on panel, 2024

Koek en ei, MarieZolamian, 61 x 52,5, oil on canvas on panel, 2022

Octopus teacher, MarieZolamian, 61 x 52cm, oil on canvas on panel, 2022

PeÌcore, MarieZolamian, 31,5 x 41,5cm, oil on canvas on panel, 2024

ReÌmige, MarieZolamian, 40 x 30cm, oil on canvas on panel, 2023

SA MUE, MarieZolamian, 50 x 70cm, oil on canvas, 2024
Bombon presents SA MUE, the first solo exhibition of the artist Marie Zolamian (Lebanon, 1975) in Barcelona.
Zolamianâs work navigates between the domestic family scene and the realm of dreams. Resembling a dĂ©jĂ vu, her paintings transport us to a dreamlike universe of hybrid creatures, faces, masks and chimerical landscapes that we seem to have known in another life.
Zolamian borrows references from both Eastern and Western art history â Medieval miniatures, Persian and Armenian, the primitive Flemish, Henri Rousseau, CĂ©zanne⊠â and gathers and recomposes them according to the moment, thus disintegrating the notion of affiliation and belonging to a community, bringing to the surface an imaginary territory where an iconography based on the attempt of integration appears and where relationships â sometimes discordant â are established. Between human beings and nature, memories of the individual and the collective, between tradition, separation and upheaval, between site, temporality and culture.
âPainting interests me in its archaeological dimension, where itâs not just the final image that counts, but the battles that have been fought in a reduced space, which has to find pictorial solutions whatever the cost. I love looking at icons, ex-votos and at the images that illustrated the first books after 10th century, the illuminations and the art of miniature paintings, Persian, Armenian, Indian, the Western books of prayers between the 12th and 15th centuries. With rigorous details and stylisations of complex geometries, a rectified perspective, where perspective, geometry and colour become languages.â
If we had to situate Zolamianâs work in a temporal moment, it would be that of wakefulness, between being awake and asleep, on the border with sleep. Then, a body becomes a tree and a landscape a wallpaper inhabited by symbols.