Young artist and graduate of L’École Beaux Arts in Paris, Miryam Haddad has lived and worked in Paris since 2012.
She had a first solo show at Art : Concept in 2018. Her work was recently featured in Métamorphoses at the Fondation Cartier, Paris; in Globe as a Palette at the Hokkaido Obihiro Museum of Art, Hokkaido and at the Collection Lambert in Avignon for the 73rd Festival.
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 there. Freed from the principles of genre-hierarchy, as well as from imperatives of proportions and rules of perspective, Miryam Haddad’s paintings are populated by facetious or even ridiculous characters, that indulge in all kinds of festivities and simple pleasures in joyous chaos. A controlled disorder in perpetual movement imposes multiple glances for the works 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.