Rabat – In the age of dominating technology and advancing AI, the position of art is put into question. Contemporary artists must confront the meaning of their craft in an ever-evolving environment, reconstructing the boundaries of art and reminding us of the importance of personhood. 

In a time of metamorphosis and unabated interrogation of art, artist Laila Benhalima secures her work through expeditions of humanism and heritage, themes of unwithering relevance and cultural significance. In two heartfelt compositions, Benhalima brings to life timeless concepts of love and loss, peace and courage in a long-awaited re-envisionment of humanism.

Towering above the viewer hangs a construction of vibrant colors and ascending figures, and to the left, a soft poem complementing the vivacious display. These poems are a recurring feature in Benhelima’s work.

“I have the same relationship with words that I have with painting… I have a long look, and then the words come… a lot of people love the way I write this poetry… it helps them to understand what this work is,” said Benhelima.

Amidst the cascading gestures of yellow, red, and green, one cannot help but empathize with the conglomeration of people, an emotionally provocative arrangement. One naturally questions their predicament: why are they there, what are they feeling, and how did this come to be? 

In our emphatic investigation of the figures, the viewer is persuaded to project their own conclusions; the transposition of one’s emotions elevates the painting to a multi-dimensional experience, connecting us to the artwork on an interpersonal level. When one considers Benhalima’s deliberation of the artwork, however, we are invited to a new and intimate perspective. 

“The inspiration comes from a beautiful book ‘Habiller Le Ciel’,” said Benhalima. “ It’s a true story [about the] author who lost his mom when he was in Europe,” before adding “it’s a beautiful discussion between the author and his mom, and he feels always that his mom is with him praying for his success.” 

The author, Eugène Ebodé, is a friend of Benhalima, this artwork being an assemblage of his love and loss, a visual document of his affection and turmoil.

“[This work is about] the trip of life. And all of us have a trip, and we have goals, and we have a beginning and an end…”

A voyage of life to death crafted with colors of Moroccan roots, this piece leaves one with thoughts of connection and departure, ambivalence and contentment.

Across the gallery, Benhalima juxtaposes erupting feelings of chaos with subtle atmospheres of tranquility. In a three-dimensional box of blues and creams, one discovers a new facet of Benhalima’s investigation.

“I’m trying to give a message of peace in this painting. The colors are quieter, and it is a relation of love that we can see,” she said. 

Continuing her distinguished art style, one observes a border of serene cityscapes encompassing levitating figures. They are bounded by a white cross, suspended, and casting shadows on the pastel background. The abstracted figures and analogous color scheme form a dreamlike ambiance, the cool undertones softening the wooden subjects.

“…[There is] always this idea, of course, of unconscious, this relation that can happen with a mom and her children. Always the freedom, the city, the people around…”

To the left of this painting, one will find another accompanying poem: a note of sweetness and spirituality; a wistful testament to souls flying to the heavens, an “hommage aux Dieux”. In substitution of a title, Benhalima’s poetry furthers the viewer’s connection to the work, once again, cultivating a multi-dimensional experience.

Benhalima is revered for her experimentation with material, and her boxed painting (unofficially titled “Peace”) showcases her passionate curiosity about multi-medium compositions. 

“I want to experiment with our local material. I’m using silk, Moroccan silk… I’m using Moroccan wood,” said Benhalima. 

In a deliberate collaboration with her heritage and aesthetic, Benhalima delivers manifestations of humanity with a Moroccan touch; in this particular work, a scene of related figures, floating in a cool-scape and interwoven with traces of her heritage.

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With artworks entrenched in emotionalism, a celebration of personhood emerges. In a digital world growing more disconnected from human touch, Benhalima’s work satisfies a deep longing to return to the personable, a craved reunion of feeling and artwork. 

Aloft impersonal exercises of technique and tools, Benhalima’s two works breathe life into the contemporary art scene, reminding us of the wonder of human gesture and the inseparable connection between emotion and creation. In spirited displays of color and movement, viewers are invited to consider universal moments of the human experience, phenomena exclusive to the expression of life, and a masterfully articulated artwork.

“For me, the most important thing is to always be free… to stay authentic, and to do what you feel and to be courageous enough to dream.”

This exhibition has been displayed at the Abla Ababou Galerie in Rabat Morocco from June 16th to July 29th.