For half a century, plastic artist Leila Razzouk has devoted himself to the realist school of painting and sculpture by producing works related to the Syrian cultural heritage.
Razzouq, who was born and raised in the town of Suqaylabiyah in the countryside of Hama, embodied in her works very clear and prominent details. She depended on the method of layering color in the painting and on the various materials in sculpture to advance them through the formation of narrators and scenes narrating chapters from the history of her town.
Artist Laila Razzouk believes that the adherence to the land, the beauty of the countryside, and the nature in the countryside of Hama made her paint her paintings from the inspiration of the Syrian nature, describing villages and moonlight, and drawing the dress and folkloric dress, leading to presenting our ancient cultural heritage.
Regarding the presence of historical and museum details in Razzouk's works, critic and plastic artist Adeeb Makhzoum explains that this artist's experience comes from the basis of her constant follow-up and continuous study of the heritage of her town, despite her residency in Damascus, where the recipient observes in most of her works the rural woman in her dress, whose roots extend to the Palmyrene civilization.
Makhzoum believes that the Razouq plastic project is characterized by archiving the heritage and making its evidence and elements changeable materials, which gives its work a stylistic aspect and shows its ability to manipulate the pictorial surface, especially when it continuously restores the duality of the past and the present.
It is noteworthy that Razzouk shows through her works historical knowledge of all the popular formations, arts and old fashion, as she is currently interested in fashion design, while some works take us to formal views that are more identical with the necessities of artistic composition, noting her ability to formulate small and accurate details that embody rich and different topics, including paintings. Iconic and ecclesiastical with angels and horses pulling a chariot carried on clouds and swimming in space.
According to the critic Makhzoum, Razzouq has produced a wide range of works that highlighted the aesthetic of the transition from realism to a spiritual and imaginative atmosphere at times that made her paintings carry an expressive and symbolic movement and at the same time harmonized with the historical atmosphere, stopping at human faces in her paintings that display countless worries and endless pains of childish faces and faces. The pregnant woman has greater age features derived from her environment and her memory, as well as the depiction of miserable images of individuals, especially the rural woman, who conveyed her suffering as a complement to the human suffering.
It is scheduled to honor plastic artist Leila Razzouk during a symposium and group exhibition next September at the Cultural Center in Kafr Sousse, in appreciation of her artistic role in enriching the Syrian plastic movement.
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