I have been painting all of my life. I believe that art is an ever evolving process and an artist needs to re-define how their art would fit into the global contemporary art conversation. That is why my work continues to adapt and mutate. Over the last 40 years I have developed my work by moving steadily back through the history of painting to reach the contemporary. 

In the late 1990's I stumbled upon a formula that is subtle, a step towards the deconstruction of the picture plane. A canvas stretched by approximately 25 degrees resulting in a convex-shaped canvas, a structure that enabled my paintings to be seen in a different 'light'. With the use of paint (oil, acrylic or enamel), and texture (fabric and glue, high-gloss or matte lacquer finish and mirror-like chrome) - the convex-shaped surface (wood, aluminium and stainless steel) offered me a spontaneous and uninhibited form of expression. This departure from conventional compositional devices and manipulation of the canvas allowed me to use the elements of design in a process where the surface, paint and the material are all equally important to make up the composition of the painting. 

Through the use of geometry, my paintings rae created from fragments of my natural surroundings such as landscape, light and the environment, rendered on surfaces that are reflective. I try to emphasise a duality between the real space perceived through or between the material and the reflected image. It can mean 'to reflect' or contemplate but also the literal reflection of a mirror. In this kind of duality, there can be two very different visual realms in one work. First the image or shape you are looking at, and second, the reflection, demanding a different way of seeing. 

Facing the artwork, it is as if we are looking at ourselves in the mirror, but we see our image in reverse and that is not how the world views us, we do not see ourselves as others see us. To further add to the sense of disorientation, our transitory presence reflects back the myriad colours it captures in that moment. 

Whether it be through how we reconstruct and interpret what we see or how our minds analyse the information that will enable us to explain and understand what we are seeing, my artwork is a form of communication and sensorial engagement for self-exploration, for myself and the viewer. 


Rashid Al Khalifa, 2015