Blessing in disguise
Galerie ERD, Seoul, SK
May 2 - 31, 2024
This new selection of works combines figurative elements with hints of abstraction. Concrete lines cut through the canvas or subjects, as little pockets of life’s chapters, to highlight the power of persistence through a more simplified aesthetic. In others, chaotic drips of colour challenge the soft strokes of acrylic, alluding to unforeseen hurdles that may come your way. These paintings weave reality and deception, hinting at the need for perseverance so that the illusion of misfortune is in the end overshadowed by triumph.
The use of ink was a deliberate choice; its uncertain characteristic lends itself to being the perfect medium for embracing imperfections and unpredictability, which Ibrahim was eager to explore. The artist intended to concede control and let the ink create its own path, a stark contrast to his familiar uniform strokes of acrylic paint. With less texture and the glowing hues of ink taking prominence, these new works are gently punctuated with a new signature.
“The fact that the ink takes longer to dry than usual acrylic and drips haphazardly, indirectly creates these blurry effects and almost erases the previous paint. It’s a constant battle between the colours, whereby the strongest and darker one usually takes dominance. Sometimes they mix to create a new colour or form, but ultimately the paint is acting on its own and making its own decisions”, said Ibrahim.
In ‘JP Adams’ (2024), drips of white and green are suspended with a single row of white that morphs into the green amid vibrant and cloudy shades of green. Similarly, drips of sienna and black almost erase the character's facial features, creating an intriguing illusion.
In the series of net paintings, including ‘Crossword’ (2024) and ‘Pockets Of Surprise’ (2024), Ibrahim introduces another element to signal a , in which the whole surface of the canvas is seized by white lines, inspired not only by the various shapes that form a football net but also by the varying nature of life’s chapters.
“I was attracted to the abstract square shape of the net, and how depending on movement, the direction of the lines can adopt a different route; this type of cross-word effect provides a language in which I can choose to speak with.”
The squares formed by the net may appear uniform in shape, but when viewed closely, each embraces its own distinctive entity with a unique personality that is made up of subtle variations in brushstroke. Not dissimilar to Simon Hantaï’s Pliage paintings, which involve a process between surrealist automatism and abstract expressionism, the net series reveal a matrix of alternations between a seemingly mesmerising and continual web and clean white lines on a monochrome background. The artwork ‘Champ’ (2024) encompasses the very essence of this exhibition, a boxer having overcome defeats through commitment and endurance so as to enjoy the sweetness that final joy brings.