A silky and free calligraphy

If there is any artist who looks like her work, completely  entangled in it body and soul, it is Rajaâ Benjelloun.

Tapered fingers and nails appear to be spreading on the hard cardboard support to draw tormented arabesques like this frenzied waltz which blows like the simoom on a partition of golden silk. There are also these green vines of hope, which twist into a flowery hem to represent rebirth, the rebirth of art, of life. There are these gold-powdered lines that fit together smoothly, like a painless childbirth, is brooding.

Rajaâ draws, refines, weaves, chisels openly expressing her emotions, especially at night, this moment of grace when silence stimulates intense creative jubilation. Her works are not finished archetypes intended to fill a space in the layout of an oriental prince’s salon. These are flexible but exploding fragments that draw the infinite, the unfinished, which suggest without closing off the space; they are myriads of lines that sometimes sting the soul and the skin like so many stings for the soothing peregrinations of the imagination. In Rajaâ’s work, dream is not a luxury; it is almost an obligatory ingredient, some essential sesame to decipher the messages coded by the artist…