Agnès Sheikh

Agnès Sheikh is French, but it is too restrictive in her eyes, She considers herself as a citizen of the world. Agnes was born and raised in Africa for 15 years, she lived for 13 years in Karachi / Pakistan where she had her 3 children, and currently, since 2004 she is living in Dubai. Agnès had the chance to approached different cultures, religions, people, arts, traditions… And she is a part of all these fabulous “Rencontres”…

Agnès Sheikh works as an art teacher for middle and high school in a French school. Before the pandemic, she used to enjoy “fluid art”, its “unexpected” component, and abstract work. But lockdowns and anxiety led her to figurative art, allowing her to “control” something through her paintings. A big relief! Since April 2020, a swing has appeared in her work, lonely, visible or almost invisible, still or in motion. It symbolizes this period we are living in, where the future remains uncertain. She uses acrylics and she has 2 series going on. In both of them, the swing is always glued on the canvas as the final touch.

“My series ‘Resilience’ allows me to relate to Nature and spiritual thoughts. The swing, considered a self-portrait, acts as a form of meditation and a catharsis, releasing negative emotions, leading to the restoration and renewal of feelings. Using only acrylics, I love playing with paints and inks, their opacity and transparency, and the different consistencies that I create. With this series, I can paint what I am fascinated with, fields, clouds, calm waters…”
Resilience (12) by Agnès Sheikh Living close to the sea, I find it always comforting and soothing to sit down front of it, contemplating. Using ultramarine and Payne grey mixed with white, I wanted to create a dramatic effect to contrast with the calmness of the sea. I am fascinated by clouds, I just love watching them and we hardly have any here in Dubai! They represent my worries, my doubts. I am looking at them, facing my struggles, my fears, and finding comfort through calmness and meditation.

Resilience (12) by Agnès Sheikh
Living close to the sea, I find it always comforting and soothing to sit down front of it, contemplating. Using ultramarine and Payne grey mixed with white, I wanted to create a dramatic effect to contrast with the calmness of the sea. I am fascinated by clouds, I just love watching them and we hardly have any here in Dubai! They represent my worries, my doubts. I am looking at them, facing my struggles, my fears, and finding comfort through calmness and meditation.

“My second series ‘Papa’, is directly related to my father, 93, leaving in a retirement home in France. Life has changed dramatically for him since the pandemic. The impact of the lockdown-almost a year- is terrible…He used to be very active…Now, he sits in front of his window, looking at the birds, the wind, the clouds, the colors of the sky. I like to think that he dreams. Therefore this series celebrates the ability of the mind to dream, soothing the pain of this loneliness. The swing represents my father finding Sanctuary within his reverie. Empty rooms accentuate the confinement while windows highlight the power of mentally escaping reality…”
Papa (2) by Agnès Sheikh In “Papa (2)" I wanted to emphasize the feeling of “loneliness” with a palette of grey for the empty room. Outside the window, the colors are soft, kind of pastels, but vivid. It could be a sky or a dream… There is a contrast between the outside world and the inside of the room, reflecting the effects of this pandemic on the old people, isolated in their retirement homes. The swing is the representation of my father.

Papa (2) by Agnès Sheikh
In “Papa (2)” I wanted to emphasize the feeling of “loneliness” with a palette of grey for the empty room. Outside the window, the colors are soft, kind of pastels, but vivid. It could be a sky or a dream… There is a contrast between the outside world and the inside of the room, reflecting the effects of this pandemic on the old people, isolated in their retirement homes. The swing is the representation of my father.

 

 

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