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Safwan Dahoul (Syria, born 1961) Rêve image 1
Safwan Dahoul (Syria, born 1961) Rêve image 2
Works from the AbdulMagid Breish Collection
Lot 40*

Safwan Dahoul
(Syria, born 1961)
Rêve

13 November 2024, 14:00 GMT
London, New Bond Street

£30,000 - £50,000

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Safwan Dahoul (Syria, born 1961)

Rêve
acrylic on canvas
signed "Safwan Dahoul" and dated "2007" (lower centre), further signed, dated and titled on the verso, executed in 2007
120 x 120cm (47 1/4 x 47 1/4in).

Footnotes

Provenance:
Property from the collection of AbdulMagid Breish, London

Published:
Louisa Macmillan, Mysa Kafil-Hussain et others, In Vested Interests: from Passion to Patronage, The AbdulMagid Breish Collection of Arab Art, Skira, Milan, 2020

This work by Safwan Dahoul tells a poignant story, one which is the focus of much of his practice. Entitled Rêve (Dream) and made in 2007, this is a continuation of his epic and recognisable Dream series, which he has been making since the 1980s. In this series, he explores visual interpretations of dreams as a reflection of his own life, marrying the conscious and subconscious world in haunting, dark compositions. In 2008, Dahoul's beloved wife, Nawar, died after a long battle with cancer, and the progression of the dream paintings represents that journey. The painting of the female figure on the table is thought to be a depiction of his wife during her final months, slipping away into a dream, or even the afterlife. Appearing extremely peaceful and tranquil, her eyes are closed as she lies on a bed of nails, curled in a foetal position, perhaps out of pain, or perhaps as a way of representing her return to where she came from. In the case of the painting depicting a table and chairs, Dahoul often used furniture to explore the presence and absence of life, and the paradoxical emptiness of occupied space, particularly during the last stages of Nawar's illness. In this work, there is a halo above the empty seat, suggesting that it belongs not to the deceased, but an angel. Dahoul's palette is always limited to minimal tones, here subdued shades of yellow, beige and black, to create serene visions in order to express his pain and share it with the viewer.
-Mysa Kafil-Hussain

Additional information

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