« The whiteness of my work is a deliberate constraint. For the past several years, the work has focused on the complexity and permanent tensions between sensation, perception and experience. My materials are varied and highly referential: sewing needles, razor blades, gauze strips, metallic thread, cotton, paper. I control their affect through monochrome, in a conscious attempt to create suggestive forms which delineate borders between the private and social spheres.Experience, perception and sensation are inextricable, and inexpressible with words.Eschewing color is a strategy attuned to the impossibility of voicing my concerns. There is a neutrality of the artist’s persona which frees the viewer to interpret the metaphors according to her own sensibilities. The work produces its own symbols and allows for the creation of polyvalent images. The whiteness of my work is means, medium, message.
I show my work to hide my sensibility. Outside the studio I have no control. There is joy and beauty; yet there is war, famine and penury... and then my joy is contaminated by a feeling of incapacity with regard to the horrors which surround us.
The materials in my work are selected from a personal storehouse of memories, and the whiteness of my work depersonalizes them, so they may describe the world beyond the seamstress’ shop where I grew up.
The works I create are meant to suggest the human body in all its splendor, fragility and inevitable decay. Eyes, skin, hair are invoked using connotative images such as syringes, bandages, gauze. Sometimes this evoked body is purely feminine, sometimes asexual. It may appear in the very gesture that creates the work, as certain pieces composed with long narrow slits, or those of triangular forms. Or the body may appear liberated from all identity, all particularities of time and place, as a human body confronting the pain of existence and bearing the invisible wounds of our shared history.
Creating a new piece is long, often repetitive process, in which I try to push my engagement and reach a meditative state so that the work is born beyond my personal limitations.
Safaa Erruas was born in 1976 in Tetouan, where she lives and works. She graduated from the Institute of Fine Arts in Tetouan in 1998. Soon after her graduation, Safaa began a series of exhibitions, in and outside Morocco, by virtue of which many curators and collectors have discovered her. Since 1996 she has been exhibiting regularly in France, Belgium, Italy, Spain, Norway, Algeria, India and United States. She also participated in the Dak’Art Biennial in the 2002 and 2006, and the 25th Alexandria Biennial for Mediterranean countries in 2009, where her work entitled “The Moon Inside of Me” won the award of the Biennial. In 2015 the artist took part at the 12 th Biennal of Habana for the specific project Beyond the wall, more recently and until June 2016 the work entitled “Invisibles” is shown at the Musac museum in Leon, Spain as part of the Lucy’s Iris Exhibition. Erruas works generally on large sizes and designs white themed installation leaving light to underline the spaces.
From January 23 to March 30. 2016
Do it in Arabic
Curators: Hans Ulrich Obrit & Sheikha Hoor Al Qasimi
Sharjah art foundation
Bait Al Shamsi. Sharjah. UAE
From January 30 to June 12th. 2016
Curator: Orlando Britto
Musac museum. Leon.Spain
From April 28 to December 30. 2016
Curator: Morad Montazami
Museum MMVI of Rabat. Morocco
From June 10 to September 18. 2016
October - December. 2016
Deep Inside, Solo exhibition
Curator: Bisi Silva
CCA Lagos. Nigeria