EXHIBITIONS
While Our Eyes Can't See
RAHMA LHOUSSIG

EN/
Elora Weill-Engerer
Art critic member of the AICA
“Giving life to an invisible world”
The themes of children and play lie at the
core of Rahma Lhoussig’s painterly process.
In her intuitive compositions, children weave
a framework of scenarios, actors, and images
that represent elements that may not physically
exist. In other words, these games are something
other than they appear to be. Based on this
observation, the artist infuses the imaginary
world with a force as well as a reality: here she
translates the human psyche into a sensorial
experience, by rendering abstract ideas palpable
as objects, forms, figures, or colors. Here,
inanimate objects or breathing creatures are
generic – presumably ordinary – elements that
ward off evil, healing and protecting through
their apotropaic and prophylactic power. At the
same time, they inhabit multiple roles, played
out in imagined scenarios. Scattered like clues
in a treasure hunt, or inextricably interwoven
like a puzzle, these eclectic elements shift the
artwork into the fabulous realm of dreams.
Ancient Greeks marked a distinction between
onar, an ordinary dream, and hypar, a prophesy.
As for Rahma Lhoussig, her dreams occupy a
space between the two, as objects from daily life
and real memories combine with a premonitory
dimension of emotion that affects how we live
in this world.
The artist establishes connections that are often incongruous, even trivial in a spiritual sense. This alchemical mixture echoes the diversity of mediums present (acrylic, oil, charcoal, colored pencils). In her world, banal childhood memories are the only point of reference for these characters occupying uncertain spaces, spaces that correspond to a psychological rather than physical place. There, precisely, where the border between interior and exterior becomes porous: conscious and subconscious, physical and mental, real and unreal shift back and forth. In simple terms, the principle is this: places live inside us, just as we live in them.
uncertain spaces, spaces that correspond to a psychological rather than physical place. There, precisely, where the border between interior and exterior becomes porous: conscious and subconscious, physical and mental, real and unreal shift back and forth. In simple terms, the principle is this: places live inside us, just as we live in them.
The drawings are intentionally unfinished, like memories perceived in fragments. Parts of the canvas remain intact, symbolizing bits of lost remembrances that can only be glimpsed, fractured and fleeting. The result is an iconography of the incomplete, nibbling away at the characters’ bodies, either on the edge of disintegration or reconfiguration. Whatever is present in the drawing is not there by chance. The main characters – mostly women – are in a state of immersion: in rest position, with their eyes wide or shut, or hidden behind a mask. They inhabit a space that is different from the world around them, yet part of it. Animals (ravens, eagles, insects, rabbits) are in a state of agitation, in contrast to the languid postures of humans, a metaphorical reading of the psyche. The events and images happening on the surface of the canvas unravels like the interior narrative of the main character. These animals and those objects represent human attributes: each memory or emotion has its own visual characteristics. In this sense, everything belonging to the private realm of the intimate is exteriorized, and rendered visible. As a whole, Rahma Lhoussig’s drawings explore the allegorization of the unconscious, giving life to the traces of an invisible world: dream, memory, thought, and emotion.
The artist establishes connections that are often incongruous, even trivial in a spiritual sense. This alchemical mixture echoes the diversity of mediums present (acrylic, oil, charcoal, colored pencils). In her world, banal childhood memories are the only point of reference for these characters occupying uncertain spaces, spaces that correspond to a psychological rather than physical place. There, precisely, where the border between interior and exterior becomes porous: conscious and subconscious, physical and mental, real and unreal shift back and forth. In simple terms, the principle is this: places live inside us, just as we live in them.
uncertain spaces, spaces that correspond to a psychological rather than physical place. There, precisely, where the border between interior and exterior becomes porous: conscious and subconscious, physical and mental, real and unreal shift back and forth. In simple terms, the principle is this: places live inside us, just as we live in them.
The drawings are intentionally unfinished, like memories perceived in fragments. Parts of the canvas remain intact, symbolizing bits of lost remembrances that can only be glimpsed, fractured and fleeting. The result is an iconography of the incomplete, nibbling away at the characters’ bodies, either on the edge of disintegration or reconfiguration. Whatever is present in the drawing is not there by chance. The main characters – mostly women – are in a state of immersion: in rest position, with their eyes wide or shut, or hidden behind a mask. They inhabit a space that is different from the world around them, yet part of it. Animals (ravens, eagles, insects, rabbits) are in a state of agitation, in contrast to the languid postures of humans, a metaphorical reading of the psyche. The events and images happening on the surface of the canvas unravels like the interior narrative of the main character. These animals and those objects represent human attributes: each memory or emotion has its own visual characteristics. In this sense, everything belonging to the private realm of the intimate is exteriorized, and rendered visible. As a whole, Rahma Lhoussig’s drawings explore the allegorization of the unconscious, giving life to the traces of an invisible world: dream, memory, thought, and emotion.
FR/
Elora Weill-Engerer
Critique d’art membre de l’AICA
«Donner vie à un monde invisible »
Les thématiques du jeu et de l’enfance sont au
cœur de la pratique dessinée de Rahma Lhoussig.
Dans ses mises en scène ludiques, l’enfant tisse
une trame faite de scénarios, d’acteurs, d’images,
qui représentent ce qui n’est pas nécessairement
là physiquement. Autrement dit, ces jeux figurent
autre chose que ce qu’ils sont. À partir de ce
constat, l’artiste vise à doter le monde imaginaire
d’une force et d’une réalité : il s’agit ici de
traduire la psyché humaine en tant qu’expérience
sensorielle, soit en termes de notions abstraites
rendus palpables à travers des objets, des formes,
des figures et des couleurs. Objets inanimés
ou bestiaire doué de vie, tous ces éléments
génériques - a priori de l’ordre du quotidien -,
sont ici pourvus d’un pouvoir apotropaïque et
prophylactique, c’est-à-dire d’un effet protecteur
et guérisseur. Dans le même temps, des rôles
multiples leur sont attribués, qu’ils jouent au gré
des scénarios imaginés. Éparpillés comme un
jeu de piste ou imbriqués comme un casse-tête
à résoudre, ils participent dans leur éclectisme
à placer l’œuvre sous le signe du fabuleux et de
l’onirique. Les Grecs distinguaient onar, le songe
vulgaire, et hypar, la vision prophétique. Les rêves
de Rahma Lhoussig seraient, quant à eux, à situer
entre ces deux types, puisque les objets de la
vie quotidienne et les souvenirs réels s’y mêlent
à la dimension prémonitoire de l’émotion, qui
détermine une manière d’habiter le monde.
Souvent incongrus, les rapprochements opérés
par l’artiste contribuent à indiquer la signification
de ce que l’esprit situerait du côté de l’anodin.
Ce mélange alchimique fait écho à la mixité
des mediums (acrylique, huile, fusain, crayons
de couleur). Plus encore, les banals souvenirs
d’enfance deviennent les seuls points de repères
des personnages qui se meuvent dans un espace
incertain, correspondant à un lieu non pas physique mais psychologique. C’est là, précisément, que
la frontière entre l’intérieur et l’extérieur se fait
poreuse : conscient et inconscient, physique et
mental, réel et irréel ne cessent de se renvoyer la
balle. Plus simplement, le principe est le suivant :
les lieux vivent autant en nous que nous vivons
en eux.
En lien avec une mémoire perçue sur le mode
du fragment, le dessin est volontairement non-
fini. Les parties que le papier conserve intactes
symbolisent ces bouts de souvenirs perdus et qui
ne s’appréhendent que de manière lacunaire.
En résulte une iconographie de l’inachevé qui
grignote les corps mêmes des personnages,
soit au bord de la désintégration soit en voie
de recomposition. Ces réserves indiquent que
ce qui encore présent sur le dessin, de n’est
pas sans raison. Les personnages principaux -
essentiellement des femmes - sont dans un état
d’absorbement : en position de repos, elles ont
le regard englouti ou fermé, quand il n’est pas
complètement dissimulé derrière un masque
fantaisie. Elles sont dans un autre monde que celui
qui les entoure et les représente tout à la fois. En
pleine agitation, les animaux (corbeaux, aigles,
insectes, lapins) contrastent avec l’alanguissement
de ces humains, dont ils incarnent néanmoins l’état
psychique de manière métaphorique. Tout ce qui se
déploie sur le papier comme un récit ouvert retrace
la vie intérieure de la principale intéressée. Ce
bestiaire et ces accessoires constituent les attributs
des figures, dans une démarche proprement
iconologique : chaque souvenir ou émotion a ses
propres caractéristiques visuelles. En ce sens,
ce qui appartient aux domaines de l’intime et
du privé est rendu visuellement perceptible et
extérieur. Dans leur ensemble, les dessins de
Rahma Lhoussig vont ainsi dans le sens d’une
allégorisation de l’inconscient, c’est-à-dire qu’ils
donnent vie à ce qui relève d’un monde invisible :
le rêve, le souvenir, la pensée ou l’émotion.
Unbowed, 170 x 145 cm, technique mixte, 2021
Waiting for a miracle, 170 x 145 cm, technique mixte, 2021
A tiring mission, 110 x 140 cm, technique mixte, 2021
Where I belong, 150 x 130 cm, technique mixte, 2021
Celebration, 170 x 130 cm, technique mixte, 2021
Twisted Reality, 190 x 140 cm, technique mixte, 2021
All the senses are gone, 150 x 130 cm, technique mixte, 2021
I stand as a flower, 160 x 140 cm, technique mixte, 2021
Lost and can’t be found, 110 x 80 cm, technique mixte, 2021
































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Born in 1996, Rahma Lhoussig is a native of
Taroudant, graduated from the National Institute
of Fine Arts in Tetouan, she has participated in
master classes in various fields such as artistic
research, engraving, screen printing.
Recently she has done residencies at the Jardin
Rouge (Montresso Foundation) in Marrakech. In
March 2020 she had a solo exhibition at the Kulte
Gallery in Rabat.
The artist’s unpublished paintings and drawings
represent an iconography of the unfinished.
Inhabited by animals and everyday objects, it
is in a familiar atmosphere that the universe of
Rahma Lhoussig mixes in a dissonant way animals,
flowers, insects, tools... Introspection of the work,
the features are undone, the bodies evaporate,
to create a new world.
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