MALIHEH AFNAN
familiar faces edited by lutz becker
1 Rose Issa Projects
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B r ief Encounters . . . an im p r o mP t u g a t he r in g o f c ha r a c t e r s . . . Lines are traces of creative energy and of life experience. Their wanderings are guided by
Mostly undated, the drawings evade chronology. They were made on a multitude of scraps
intuition, emotion and memory. Lines turn into drawings, containing both qualities, the
of paper, not especially chosen for the purpose; casually jotted down, they have the speed
fragility of an inspirational moment as well as the boldness of instant realisation. Paul Klee
and drive of an écriture automatique in which the author has removed control. There are few
said: “An active line moves freely, it takes a walk for a walk’s sake, without aim.”
shadows. The paper is a white space, where strange encounters and conflicts occur. Streams of memories seem to surface; their visualisation, their emergence from nowhere,
The drawings and occasional sketches reproduced in this small book have come together
may be their sole purpose. Malieh Afnan’s lines wander following their own path, probing the
over a period of nearly forty years, and represent just a small selection of hundreds of
subconscious, the place were memories merge with new impressions. Faces appear like
drawings. Maliheh Afnan did not make them seeking experiment or relief from formal
phantoms, some benevolent, others with expressions of kindness that may turn into cruelty.
pressures; rather, acting on sudden impulses, her drawing hand found unexpected
There are men staring at other men, competing. There are couples, women and men
physiognomies and outlines of strangers. Or did they find her?
together but apart, contained in their own inverted states. A smile is not necessarily a sign of happiness. Here male bonhomie is mostly a facade. Some of the faces and figures have
Changing directions and pressures upon the pen, slight variations of the ink-flow or
passed into a stage of dreamlike distortion; they assume a haunting presence.
traces of graphite translate into marks, linear forms, finally turning into silhouettes, profiles and faces. These lines follow an inner necessity with clarity and economy.
Outlines of characters and faces from a half-forgotten past have been put on paper, perhaps
Some of the pencil drawings are edgy, with halting lines, sometimes smudged over.
to exorcise their hold on the artist’s memory. Many of them breathe the melancholy of
Unselfconsciously figurative, Afnan’s lines move across the paper registering emotional
displacement, possibly Afnan’s own sense of loss. The characters appearing on these pages
variations and expressions, sometimes with humour, more often with a critical edge.
are somehow connected. They exist in an unspecified space, in a stage of transit, like
Her knowledge of the pains and occasional rewards of alienation give some of her
strangers in the waiting room of a railway station that is filled with the constant murmur of
drawings an even tragic tone. With informal, simplified graphic means she creates an
lost conversations, unheard monologues, curses and prayers.
intimate world, an impromptu gathering of characters, with very distinct features, gestures and expressions. 4
Lutz Becker 5
B r ief Encounters . . . an im p r o mP t u g a t he r in g o f c ha r a c t e r s . . . Lines are traces of creative energy and of life experience. Their wanderings are guided by
Mostly undated, the drawings evade chronology. They were made on a multitude of scraps
intuition, emotion and memory. Lines turn into drawings, containing both qualities, the
of paper, not especially chosen for the purpose; casually jotted down, they have the speed
fragility of an inspirational moment as well as the boldness of instant realisation. Paul Klee
and drive of an écriture automatique in which the author has removed control. There are few
said: “An active line moves freely, it takes a walk for a walk’s sake, without aim.”
shadows. The paper is a white space, where strange encounters and conflicts occur. Streams of memories seem to surface; their visualisation, their emergence from nowhere,
The drawings and occasional sketches reproduced in this small book have come together
may be their sole purpose. Malieh Afnan’s lines wander following their own path, probing the
over a period of nearly forty years, and represent just a small selection of hundreds of
subconscious, the place were memories merge with new impressions. Faces appear like
drawings. Maliheh Afnan did not make them seeking experiment or relief from formal
phantoms, some benevolent, others with expressions of kindness that may turn into cruelty.
pressures; rather, acting on sudden impulses, her drawing hand found unexpected
There are men staring at other men, competing. There are couples, women and men
physiognomies and outlines of strangers. Or did they find her?
together but apart, contained in their own inverted states. A smile is not necessarily a sign of happiness. Here male bonhomie is mostly a facade. Some of the faces and figures have
Changing directions and pressures upon the pen, slight variations of the ink-flow or
passed into a stage of dreamlike distortion; they assume a haunting presence.
traces of graphite translate into marks, linear forms, finally turning into silhouettes, profiles and faces. These lines follow an inner necessity with clarity and economy.
Outlines of characters and faces from a half-forgotten past have been put on paper, perhaps
Some of the pencil drawings are edgy, with halting lines, sometimes smudged over.
to exorcise their hold on the artist’s memory. Many of them breathe the melancholy of
Unselfconsciously figurative, Afnan’s lines move across the paper registering emotional
displacement, possibly Afnan’s own sense of loss. The characters appearing on these pages
variations and expressions, sometimes with humour, more often with a critical edge.
are somehow connected. They exist in an unspecified space, in a stage of transit, like
Her knowledge of the pains and occasional rewards of alienation give some of her
strangers in the waiting room of a railway station that is filled with the constant murmur of
drawings an even tragic tone. With informal, simplified graphic means she creates an
lost conversations, unheard monologues, curses and prayers.
intimate world, an impromptu gathering of characters, with very distinct features, gestures and expressions. 4
Lutz Becker 5
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untitled drawings . . . t he r e i s m u c h
t o a r g u e ab o u t
Having had to face huge challenges throughout her life, including war and displacement,
tongue-in-cheek. Afnan’s eyes twinkle as she tells captivating stories and entertains her
Maliheh Afnan knows how to negotiate moments of crisis and frustration. She confronts
friends with her fearless sense of humour, sarcasm and wit.
obstacles with humour, patience and optimism. While her paintings are mostly abstract and scriptural, her sketches, verging on caricature, She is a painter of wonderful but sombre artworks in earth-coloured tones, yet her life
are all figurative, free associations depicting outlines of strong women and weak men.
experience has been quite colourful. Many paradoxes surface in her life.
“The pen does it,” she explains. Patterns emerge, images of couples, family portraits, confrontations; as you look at them you may even hear them arguing. She describes her
She was born to Persian parents in Haifa, Palestine, where she enjoyed a happy childhood
work as being about imaginary people whom she presents in a timeless, free-floating
until her family had to leave their home in 1948. Since then, she has lived the life of an
manner, not anchored within a defined space. They face each other in dialogue, in silence
exile – first in Beirut, where she spent her student days; then Washington DC, where she
or argument. Often there are only two, but sometimes there are groups of three or four.
studied and graduated from the Corcoran School of Art. Then came Kuwait and back to
This is also how she likes to see her friends – mostly one-to-one and at other times in
Beirut, before leaving for Paris, where she lived for over twenty years and held regular
intimate gatherings of like-minded people. These days she seldom goes out, but is on top
exhibitions. Since 1997 she has lived in London. She has moved many times, and yet
of all the news, especially the current affairs of the Middle East, which annoy and amuse
remained, because of her sense of independence, something of a loner. Her “home” – her
her in equal measure. Her characters argue, because there is much to argue about.
country, if you like – is essentially her apartment and studio, an elegant, minimalist space
Nothing is resolved.
filled with few but carefully chosen objects. Afnan is an articulate artist, for she loves and respects words and enjoys playing with them. She likes precision, order and elegance. The sketches included in this book are very 8
Rose Issa 9
untitled drawings . . . t he r e i s m u c h
t o a r g u e ab o u t
Having had to face huge challenges throughout her life, including war and displacement,
tongue-in-cheek. Afnan’s eyes twinkle as she tells captivating stories and entertains her
Maliheh Afnan knows how to negotiate moments of crisis and frustration. She confronts
friends with her fearless sense of humour, sarcasm and wit.
obstacles with humour, patience and optimism. While her paintings are mostly abstract and scriptural, her sketches, verging on caricature, She is a painter of wonderful but sombre artworks in earth-coloured tones, yet her life
are all figurative, free associations depicting outlines of strong women and weak men.
experience has been quite colourful. Many paradoxes surface in her life.
“The pen does it,” she explains. Patterns emerge, images of couples, family portraits, confrontations; as you look at them you may even hear them arguing. She describes her
She was born to Persian parents in Haifa, Palestine, where she enjoyed a happy childhood
work as being about imaginary people whom she presents in a timeless, free-floating
until her family had to leave their home in 1948. Since then, she has lived the life of an
manner, not anchored within a defined space. They face each other in dialogue, in silence
exile – first in Beirut, where she spent her student days; then Washington DC, where she
or argument. Often there are only two, but sometimes there are groups of three or four.
studied and graduated from the Corcoran School of Art. Then came Kuwait and back to
This is also how she likes to see her friends – mostly one-to-one and at other times in
Beirut, before leaving for Paris, where she lived for over twenty years and held regular
intimate gatherings of like-minded people. These days she seldom goes out, but is on top
exhibitions. Since 1997 she has lived in London. She has moved many times, and yet
of all the news, especially the current affairs of the Middle East, which annoy and amuse
remained, because of her sense of independence, something of a loner. Her “home” – her
her in equal measure. Her characters argue, because there is much to argue about.
country, if you like – is essentially her apartment and studio, an elegant, minimalist space
Nothing is resolved.
filled with few but carefully chosen objects. Afnan is an articulate artist, for she loves and respects words and enjoys playing with them. She likes precision, order and elegance. The sketches included in this book are very 8
Rose Issa 9
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familia r fa c e s “I have no idea who these people are. They seem to appear from nowhere. They resemble no one I know, although some things about them are familiar. Often the men wear bowties – as did my father. The women are matriarchal – as were the women in my family. There is much male-female confrontation. Haven’t we all experienced that? They all seem to live in a world of their own; an odd bunch of archaic-looking people on the verge of caricature. Maybe that is what we all eventually become – caricatures of our former selves. I should know.” Maliheh A fnan
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familia r fa c e s “I have no idea who these people are. They seem to appear from nowhere. They resemble no one I know, although some things about them are familiar. Often the men wear bowties – as did my father. The women are matriarchal – as were the women in my family. There is much male-female confrontation. Haven’t we all experienced that? They all seem to live in a world of their own; an odd bunch of archaic-looking people on the verge of caricature. Maybe that is what we all eventually become – caricatures of our former selves. I should know.” Maliheh A fnan
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All works are ink, gouache or pencil on paper made beween 1978–1998.
ISBN: 978-0-9570213-4-1 © Copyright, all images, Maliheh Afnan, 2013; texts, Lutz Becker and Rose Issa, 2013. Production: Francesca Ricci Editing: Katia Hadidian Design: normal industries This first edition published in 2013 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without permission in writing from the publisher. This book is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, re-sold, hired out, or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser.
A full CIP record for this book is available from the British Library, London, and the Library of Congress, Washington DC.
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