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BELONGING FOR. 1990-2022, Ghada JAMAL


Du 18/02/2022 à 18:00 jusqu'au 19/03/2022 à 18:00

Art on 56th gallery has the pleasure to invite you to the solo Exhibition of Ghada JAMAL,  Belonging for. 1990-2022


Born in Beirut, Lebanon in 1955, Ghada Jamal started painting in the early 80s and continued her studies at Beirut University College (LAU) later, she immigrated to United States of America to pursue graduate studies. In 1990, she earned Master degree in Fine Arts in Drawing and Painting from California State University Long Beach (CSULB) and lived in California till her return to Lebanon in 2002. 

Over the years, Ghada has exhibited in United States, Europe and the Middle East. She had eight solo shows in Beirut, Lebanon. She also participated in several group shows like; CONTEMPARAY ART at City Center Dome, and THE ROAD TO PEACE at Beirut art center. Her work is in many permanent collections, including the National Museum of Women in the Arts, in Washington, DC. Ghada Jamal taught over 17 year drawing and painting at American University of Beirut and Notre Dame University, Louize. She is currently living and working in the United States of America

This series was painted on location, the places were chosen by how the light reveals the landscape, and its timeless relationship with my country. The paintings are absorbed by this continuum, where I explore my belonging through panoramic perspectives. When I’m on location I contemplate my heritage, my present and future and I’m confronted by the means to capture what is beyond me. The paintings are grounded and reed by the deliberate horizon; the place that you can see but is impossible to reach.

This series was imagined and conjured from a multitude of vanishing perspectives, embodying a lifetime of stories, spent, and seen in my city, Beirut. Unlike the earlier series, these paintings are not constrained by the reality of a particular location. I wanted each painting to capture the enchanting beauty of the city without escaping the earth-shattering tragedy of the recent Port explosion. Each painting suspends the incoherence of politics, diluting the territorial symbology and favoring a maze of rejuvenate paths. The city is part of a living memory with touristic ruins, new ruins, and the yet to be born future that are all accessible at once.




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