Michel Gauthier, Yamou

The first “official” work in Abderrahim Yamou’s artistic career dates from 1989. The artist was thirty years old.He had been painting for several years and had even held an exhibition in a gallery but today he does not consider any work before 1989 as more than experimental since they did not yet show the perspective that defines his œuvre, even in its embryonic stage.

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Marta Moriarty, JE SUIS ÇA

By travelling new paths, Yamou finds depth, chiaroscuro and forgotten glazes. The paintings present casually geometric shapes, pregnant with personal and collective memories.

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Mohamed Kacimi, The Mercurial gesture

Painting opens its abyss in the moment that the material becomes art-universe, life, when painting is painting, where the Mercurial gesture cultivates the virtuality of ineffable meaning, transcends the scriptures, erasures, where the metaphor becomes archaic resonances of the mind.

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Christine Buci-Glucksmann, The skin of the world

For paint to create landscape abstractions that map the world in its multiple surfaces, such is the challenge of Yamou’s latest works. For here, an identical, yet always varied plastic disposition, seems to impose itself as a Garden of Eden, where a white figure appears at times.

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Michel Gauthier, Painting in his garden

Then, in 1996, the plant world takes over Yamou’s work. In a rather traditional form, with the series of .Landscapes . in which a compromise between the abstraction of his beginnings and the desire for a vegetal figuration appears to be negotiated, not without some bitterness.

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Mohamed Rachdi, Yamou or the atopic garden

Where does such a passion for the garden take its roots? What are its referential ramifications and its plastic and artistic implications?
If the artistic activity of Yamou focuses this much on the garden, it is probably because the artist himself, is carrying a garden at heart.

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Emmanuel Daydé, The African nights …

At first, a sensation of matter emanates from these abstract paintings: a thick layer of earth or brown sand covers the surface of the painting, which is then pounded as though sculpted. And then, little by little, a finer, freer pictorial substance emerges and figures come into view.

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Edmond Amran El Maleh, Yamou

There is a constant in Abderrahim Yamou, one may venture to affirm, a constant that is the very nature of his desire to paint, which is acute sensitivity, his carnal attachment to matter, to the richness of its expressive potentialities.

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