PORTFOLIO MYRIAME DACHRAOUI
«During her residency, Dachraoui embarked on an exploration of techniques, of colour palette between going back and forth on a drawing construction. She drew inspiration from her memories, as well as images that had been imparted to her through her dreams. Her journey even led her to dig into a grimoire in search of postcards and elements that had left a remarkable mark on her as a child – postcards her father had brought back from his travels to Russia during his academic journey. This pursuit ignited a curiosity within her, primarily concerning the construction of miniatures, the intricacies of color palettes, and their spatial arrangement. She unearthed certain elements from this treasure quest, such as a turquoise blue that she expanded into an entire palette within her canvases, creating an illusion of retro-illumination in the middle of an enchanted forest. Another standout feature is a miniature nestled at the core of her compositions. The verticality in her works is, in part, influenced by Japanese prints, which, like the postcards, predominantly embark on a reading from a vertical perspective, guided by a succession of elements. Dachraoui leads the character's gaze in the middle of her canvas to the hidden corners of her compositions. These hidden corners often take the perception into lush, enigmatic spaces, where the character's view disappears among the intricate interplay of foliage and shadows. We are given a taste of the character's contemplative or perhaps, introspective moments off the canvas, as they become one with the natural world that surrounds them. In other instances, the perspective offers a bird's-eye gaze, creating a sense of elevated view. It invites the viewer to appreciate the vastness of the landscape, the intricate patterns of fields and waters, and the seemingly infinite horizon. The discerning eye of an architect distinguishes her work, allowing her to construct layers of narrative, from foreground to background. This open studio experience is thought of as a voyage into Dachraoui's imagination. With each brushstroke and experimentation, she directs us through her gaze towards a dream, an element, or a narrative that unfolds with layers and vibrations of colour, at times dark and distant, and others, vivid and lucid. It's a journey through the distinguished territories of the mind, a testament to the artist's ingenuity and her ability to take us on an odyssey through the realms of dreams and colour.»
Salma Kossemtini, corator. Open Studio Selma Feriani, July 16th 2023
ON THE LEFT. Unconscious Melody, 2023 Acrylic on canvas 58 x 41 cm [OPEN STUDIO with Selma Feriani Gallery]
ON THE RIGHT. Eaux chaudes, 2023 Acrylic on canvas 60 x 55 cm [OPEN STUDIO with Selma Feriani Gallery]
ON THE LEFT. I grew seaweed in my bathroom, 2023 Acrylic on canvas 35 x 32 cm [OPEN STUDIO with Selma Feriani Gallery] Collection Touria El Glaoui (1-54 art fair)
ON THE RIGHT. Seaweed, 2023 Acrylic on canvas 35 x 32 cm [OPEN STUDIO with Selma Feriani Gallery] Collection Touria El Glaoui (1-54 art fair)
ON THE LEFT. Open window, 2023 Acrylic on paper 24 x 32 cm [OPEN STUDIO with Selma Feriani Gallery]
ON THE RIGHT. Blue boy, 2023 Acrylic on paper 32 x 24 cm [OPEN STUDIO with Selma Feriani Gallery]
ON THE LEFT. Luminescent Lake, 2023 Acrylic on Canvas 40 x 31 cm [OPEN STUDIO with Selma Feriani Gallery] Collection Selma Feriani
ON THE RIGHT. The absence, 2023 Acrylic on canvas 40 x 31 cm [OPEN STUDIO with Selma Feriani Gallery] Collection Touria El Glaoui (1-54 art fair)
Underwater, 2023 Acrylic on canvas 110 x 70 cm [OPEN STUDIO with Selma Feriani Gallery]
Untitled, 2023 Acrylic on canvas 35 x 31 cm [OPEN STUDIO with Selma Feriani Gallery]
The tale of architectural metamorphosis, Or how a brick fell from the sky to the peaceful village of Ifrikya (2023) (Personal on going project) «Long ago, a village named Ifrikya perched upon a hill overlooking the sea takes center stage. The villagers lived in harmony with nature, adapting their homes and city to fit their environment. The unique shapes of their houses regulated temperatures during intense heat and collected water for daily needs. One day, the inhabitants of Ifrikya noticed a bright gleam racing across the sky towards them. Initially blinded by its brilliance, they soon realized a solid mass was hurtling straight towards their village. An elderly sage overseeing the town's astronomy tower ascended its peak to observe the shining object more closely. He had never seen such an artifact before, yet he recorded his observations: it was a comet, shaped like an industrial red brick known as the "brick with six holes," or B6. And so begins the tale of architectural metamorphosis, or how a brick fell from the sky to the peaceful village of Ifrikya. Since the comet's impact, gravity seemed to change within the village, and across the entire country. Towers rose, staircases floated through the streets, and new generations gradually forgot their heritage's origins, along with the appearance of traditional dwellings. Slowly, their identity faded, leaving only a few elderly survivors of the comet's fall to recall the village's former look and the joy of summer evenings spent in open courtyards.» This imagined story marks the start of my research project where I aim to trace the evolution of architectural and urban landscapes in Tunisia using a narrative-driven approach. From my days studying architecture to the culmination of my research at the National School of Architecture of Tunisia, I’ve explored urban plans and the evolution of cities and homes alongside socioeconomic development. However, new cities have distanced us from nature. Many Tunisians seek a more Western lifestyle, leading to «modern» homes – a complex legacy entwined with colonialism and the influence of architects like Le Corbusier. Observations and testimonies collected during my research at the National School of Architecture make it clear that many Tunisians wish to detach from the «traditional» image of the «arbii» (Arab) house, instead pursuing a more Western, contemporary lifestyle. Urban evolution and the sociocultural perception of present-day cities are influenced by a complexity beyond just «modern» architecture.
On going painting of the project, «Strange gravity», 2023 Acrylic on canvas,110 x 70 cm
The tale of architectural metamorphosis,Or how a brick felfrom the sky to the peaceful village of Ifrikya «The fall», 2023 Acrylic on canvas 110 x 70 cm
The tale of architectural metamorphosis,Or how a brick felfrom the sky to the peaceful village of Ifrikya «Burning lands», 2023 Acrylic on canvas 110 x 160 cm
SERIES, WHEN SUN GOES DOWN
Untitled I (2023) ACRYLIC ON CANVAS, 50x40 cm Collection Touria El Glaoui (1 - 54 art fair)
Untitled II T(2023) ACRYLIC ON CANVAS, 35x32 cm
UNTITLED - 2023 110 X 80 CM ACRYLIC ON CANVAS
ENDLESS NOW - 2023 DIGITAL MEDIA
UNTITLED - 2022 200 X 140 CM ACRYLIC ON CANVAS Selma Feriani collection
SERIES - BOYS - 2021 (work published in a personal fanzine entitled adult(e)) DIGITAL MEDIA - LIMITED SERIES OF PRINTS
Movie project (2023) All mad here, by Bochra Triki Visuals by Myriame Dachraoui «All Mad Here» is an animated film that delves into the lives of a one-of-a-kind penguin family, shining a spotlight on the main character and their journey. Through this touching and emotionally resonant story, the family’s experience with bipolarity takes center stage, a subject that often remains hidden in society’s shadows. Narrated from a distinctive female perspective, this film presents a fresh take on the narrative. Drawing from personal experiences, it offers an opportunity to explore the nuances of mental health in a relatable and approachable manner. «All Mad Here» aspires to start a dialogue, seeking to dismantle the walls of silence that often surround mental health topics and open up a channel for understanding.