Young artist, freshly graduated from Les Beaux Arts de Paris, Miryam Haddad lives and works in Paris since 2012.
Selected on the occasion of the third edition of Artagon (international exhibition of art-school-students), Miryam Haddad has distinguished herself with her oils on canvas in formats competing with those of academic or sacred painting. The triptych composition that punctuates her production is also reminiscent of altarpiece panels. But the analogies stop at that. Freed from the principles of genre-hyerarchy, as well as from imperatives of proportions and rules of perspective, Miryam Haddad’s paintings are populated by facetious, even ridiculous characters, that indulge in all kinds of festivities and simple pleasures in a joyous chaos. A controlled disorder in perpetual movement which imposes multiple glances for the work’s reading.
In a mixture of triviality and fantasy, apparent naivety and melancholy, these characters camouflage and exacerbate a reality too ugly and cruel to be represented. The human figure is also treated in a rough way, deformed or summed up in a few convulsive brushstrokes that evoke the tormented traits of painters such as Chaim Soutine, James Ensor or Marwan Kassab Bachi. Unburdened by the pessimism of those who inspired her, Miryam Haddad claims, however, the positive power of the imaginary, an imaginary that invites us to flee the real without altogether denying it.