The Tate exhibition shows the first works that Caland made in Beirut in the mid to late ’60s as well as paintings, drawings, and textiles produced in Paris, after she left her family to focus on her art. When my mother left Lebanon, she left her social status, her husband, her home, her sense of stability behind. The work radiates a sense of freedom, courage, humor. These works are mischievous, fun, and very meaningful. My mother loves the sea and the space is sublime.”Ĭaland’s daughter, who manages her mother’s work and spoke for her as she is no longer able to communicate with ease, continued, “An exhibition is so personal and physical, not only intellectual. The curators have really understood the happy and whimsical side of my mother. “It’s her first museum solo show and that’s OK,” Brigitte Caland, the artist’s daughter, told me from Beirut. Turner, is an homage to Caland’s unapologetic feminism and lust for life, focusing on the first two decades of her career from the 1960s to the ’80s. Ives, in an English seaside town favored by artists going back to J. Now at the age of 88, after moving from Beirut to Paris and California and eventually back to Lebanon, the remarkably original Caland is finally receiving some of the attention she deserves. I know only that I want to determine a point of emotion in the painting or drawing, and that I am absorbed by an exploration of the sensual possibilities of the human body.” “I’ve never analyzed my creative intention. “Art is not a part of my life it is my whole life,” Caland told her friend, the writer Helen Khal, for her 1987 survey book The Woman Artist in Lebanon. While hints of the Mediterranean Sea remained, Caland liberated her paintings from a sense of place and opted instead to search deep inside her own soul and desires. Created in the run-up to the Lebanese civil war as the Beirut-born but relocated artist found her voice in Paris, the works reflect Caland’s essence as a free, fun-loving woman detaching herself from the burdens of patriarchal tradition and the conventions of genre. Organic forms-abstract and elemental-evoke feminine curves, slits, and points of embrace. The canvases painted in the early 1970s are filled with bright, sunny bursts of vibrating color.
Squeeze it series#
Huguette Caland’s painting series Bribes de Corps (Body Parts) could very well be an expression of orgasmic pleasure.
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