|Fatma Shanan / Works 2010-2017 in Tel Aviv Museum Art|
The 2016 Haim Shiff Prize for Figurative-Realist Art
Fatma Shanan is one of the most remarkable young voices in Israeli art today. Her paintings express a personal statement linked with her biographical roots. Oriental carpets are prominent in her work, and she depicts their rich ornamentality and woven textures, representing tradition while presented in different contexts.
Fatma Shannan is the Recipient of the 2016 Haim Shiff Prize for Figurative-Realistic Art. The Jury wrote: "Fatma Shannan born in 1986 in the Druze village Julis lives and works in Tel Aviv. Her interest in art began at a young age, studying in private courses at her village while at high school. She studied fashion design for a year but returned to her original passion, studying art first at Oranim Academic College of Education, followed by painting at artist Elie Shamir's studio. The oriental carpet lain out on the balcony, or rolled up, or placed in the middle of the field-occupies a central role in Shannan paintings. At times it is held by two Plastic chairs, as the artists depicts the various contrasting textures of the plastic, modern-synthetic industrial product and the woven carpet, representing tradition. The carpets in her paintings are used daily in the home as well as in the Druze prayer house. These carpets have their own rules, esthetics and past, and Shannan seems to juggle between them all with brush strokes and deeply rich color."
Fatma Shannan says: "The Druze society in which I was raised views the carpet as a precious item. It is manufactured by manual labor and represents folklore. The carpet has always been inseparable from the experience of home and family, and is treated with disproportional awe. It must not be stepped on, it must not become soiled. The women attend to it obsessively: cleaning, shaking, brushing. Damaging a carpet can be perceived as the rebellion of a girl prevented from playing outside. At first, I used to paint a carpet in detail, flowers were flowers and lines were lines. Later, influenced by Impressionist painting, I started to deconstruct the image, which is evident in my later works."
curator: Dr. Doron J. Lurie
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