Sanaa Bezzaz

Sanaa BEZZAZ was born in Casablanca MOROCCO in 1981 .

Graduated from the University of Fine Arts Casablanca Morocco in 2003 .

Lives and works in Florida USA ...

      When you tend to write about the plastic artist Sanaa Bezzaz, you write about a dream that resisted all the existential and social obstacles. An artist that is as calm as the calm before the storm. This is the image of the creative Sanaa Bezzaz, graduate from the University of Fine Arts in Casablanca 2003, where the university has contributed in referencing her research that was focusing mainly at the feminine body with its connotations through the history of art. She has practiced the visual creativity since her very young age. As a little kid, she used to manipulate the colors before her becoming obsessed with the law of art and its old, modern and contemporary theories.

She was driven by the old saying: Learn to walk before you run.

        In this context she says: “Despite the compulsion of my family who refused my desire to join the Arts school in Casablanca, claiming that it’s not worthy as a job and financially as well, I continued as a member in this school and I became so active at its theoretical and practical classes. After my graduation, I tried to mix the pictorial painting  and the art of decoration in a functional and artistic way. 

       Sanaa Bezzaz has recalled her contributions in some movies whether they were Moroccan or foreign in which she supervised the decoration departement in a very professional way. This artist has resisted all the barriers. She has no faith in what is called “impossible”. Only the will is capable to win the battle against the challenges of the work in a country that has nothing to pay for such artists.

       In the formation of her work, she abbreviated the bodies and became satisfied by only showing their connotations as if she speaks her words out loud but visually. Everything about the paintings is filled with motions on both coloring and formation sides.

         This way, Sanaa has dived into the orbit of her painting in a text formulation that includes the connotation and knowledge as well. For that we are facing a colorful language that has an abstract and dynamic nature where the visual imagery is now far from the specification of the language of this art according to its reality.  We deduce rhythms and symbolic meanings inside every painting of hers. And the metaphor, isn't it a crossing? Isn't it considered as a movement of refusing for the existing and looking for another existence? She is inviting us, silently and patiently to go beyond the borders of reality of the human and universal bodies till we reach        a new relations between the forms and the forms with the reference. Building new creations of the combination of forms, pictures and references with the beautiful vision of an artist.

         The creative of all the several possibilities, is Sanaa Bezzaz. Her portrait is a visual extension for the multi conceptual structures.  In fact, it is a center of question production. As Al-Jerjawi says:” The connotation is always more eloquence than the truth.”

        This is the visual connotation that Sanaa Bezzaz is drawing with acuteness. So, it opens a way for the plastic- art knowledge as a space that is endlessly opened. From here, the canvas gets endless attempts in research and discovery. We realize, through diving in the depth of this work, that the abstract forms are rising as a language of interesting to search in order to reach the unknown. Isn’t the dimension of the infinity in the domain of the plastic -art expression is equal to the dimension of the infinity in the domain of thought and knowledge?

       Sanaa has learned from her experience in decoration that she has to be accurate in both preparations and achievements. She learned that she has no right to commit a single mistake as she announced in a TV interview. As she learned from the experience of the pictorial painting that formation is a mixture of connotations. Every start is always opened to the adventures and possibilities. Her paintings resemble a distance of beauty between what is seen and what is beyond the vision. I mean, between the known and the unknown.  She has always been taken by following the geography of the unknown on the maps of the complicated forms. That is the reason behind her painting coming out as an abstract, combined of sameness and opposition.

A renewing that is based on the combination of two different worlds and making them a unit. 

 Far away from the obsession of the record description and the bounded formation, it looks like a touch that coheres with the movement of the colors and the shapes as if they were a shine that is splitted from the reality and moving towards the unknown.  Isn’t this picture considered as an expression and becoming? 

           The painting is a visual maze for watching an existence and geometrical unit in a different level of difficulty. Sanaa, the artist, is formulating it as motion writings that destroys the structures more than building them and hiding its characteristics rather than showing them. So, the painting is not taking a specific condition or shape. It is like a picture, a flow that isn’t repeated.  A flow that is wavy and streamlined. It is affecting the feeling, the thought and the anticipation.

Does she paints the rhythm of the soul? Of the body? Or does she paints them both?

          As preceded, every painting has a special definition because it signals the things that are tied with the effects and the effects that are tied to the things. The secret is in the graving of different meanings. That is how we question the truth of the relation of reality with experiment. she paints her  own timeframe. Which means, her own experience as if it is an update to the operations of imagination and renewing. So, far away from the crisis of the demand and offer, Sanaa Bezzaz doesn’t tolerate with this art as being technical at first place. But, she believes that it is a vision to the whole world before anything else. She is celebrating the coming back to the real self with all of its troubles, giving no attention to the tiny minds. Her creativity in this art in every aspect is protecting himself from the ole and modern traditions. I imagine that Sanaa Bezzaz is showing us a pigmented mirrors looking for the full image of the body. Isn’t the mirror reflecting? with the expression of “Jacques Lalande", the hidden part of the self and allows him to say: “This is my body”?

           The structures of Sanaa Bezzaz always have those effects and impulses. Through the eloquence and the richness of the colors, these shapes rise as an architectural bulding in the abstract way.

           So, instead of working on the mirrors by placing the tattoos, symbols and signs as the artist Ahmed Alsharqawi, she is satisfied by the movement of the shapes in their metaphorical dimensions through the dialectic line of the forms. What a colorful and photic treatment of those shapes! She is also keeping her own track by maintaining the beauty of the traditional canvas.

              Sana has listened, deeply, to the calls from her soul. And got herself busy with the concepts of fun and seriousness rather than the concepts of playing and communication. Her art is like an intimate geography that has a magical presence. What a relief that frees the bodies and the spirits. “I remember when Clive Bell talked about the art and the society.” She refused to be a flower that blooms on a grave. As she also refused to take the same path of the old who turned the painting into just a typewriter.

The artist Sanaa Bezzaz invites us to explore an exciting universe, through both expressionism and neo-plastic, presenting a harmonious blend of forms and tones. This deep filigree plastic sensitivity earns Sanaa the position of being a “game changer” in the modern world of Moroccan art. 

 

The chromatic tones are charged with an introspective symbolism that allude to a structured macrocosm, emanating from the artist's inner nature, putting into an abyss the intrinsic and esoteric dimension of figures and colors: the quintessence of the lived experience.

 

Alchemist colorist, Sanaa exploits the impressions with mastery that defy the limitations of canvas. Sets of visual structures of polymorphic order stir deep senses of mystical impulse.

 

Beyond forms and colors, the rich dimensional depictions draw from her bountiful reservoirs of inner expressionist and dreamlike art and take you with her to the beyond.

Born in Casablanca in 1981, this young Moroccan artist has demonstrated from an early age her absolute dedication to artistic creation in various facets, whether in drawing, painting, sculpture, writing or decorative design. 

With the gentle ease of a bird taking graceful flight, Sanaa moved easily upward at the University of fine-arts in Casablanca.  Her natural and ever growing skills in artistic research and creative expression were like the wind in her wings.  

After her graduation, in visual arts, in 2003, she found herself absorbed in the fine crafts of cinematic set design and construction, a well chosen field in which she has excelled, and continues to thrive. 

Her destiny of artistic achievement has been undeniable and the application of her talents have left indelible marks upon this highly specialized industry. 

She’s demonstrated great skill and versatility in bringing the magical visions in her mind to beautiful three dimensional fruition. 

But the realization of such success in the glamorous world of cinematographic design has not distracted from her love of easel and canvas.  

Her accumulated experiences along her life path of international acclaim and highly specialized design and technique continue to build one upon the other for Sanaa Bezzaz, Moroccan artiste extraordinaire.