Dhewadi Hadjab Raises the Curtain on “Act II: Fragmenter” at Mennour in Paris

This fall in Paris, masterful artist Dhewadi Hadjab raised the curtain on “Act II: Fragmenter” at Mennour gallery. The Paris-based visionary’s latest series of paintings focuses on elements of the human body in strained, transitional positions, where a familiar yet spellbinding curve of the back, waist, neck, or wrist leads our imagination to explore vast emotional and physical landscapes. Drawn from arduous photography sessions enhanced by meticulously curated wardrobes, Hadjab orchestrates an intuitive and formidable ballet of poignant figures at their most vulnerable, graceful, and searing.

Hadjab’s ever-strengthening creative prowess is grounded in a formal education at the École supérieure des Beaux-Arts d’Alger, the École Nationale Supérieure d’Art de Bourges and the Beaux-Arts de Paris. The artist’s whole-hearted dedication to painting has been honored by esteemed prizes such as the Prix des Amis des Beaux-Arts “Prix du portrait Bertrand de Demandolx-Dedons,” as well as the Rubis Mécénat production grant. This year, Hadjab exhibited with the Musée d’Orsay’s  “Le jour des peintres” presentation, and was formally invited by The Church of St. Eustache to produce two sweeping works of art as permanent, stirring installations. 

The prolific artist took time to impart to Whitewall the momentum behind framing each work as a play and each exhibition as an act, retaining only fragments to evoke the shivering presence of something much greater.

WHITEWALL: What was the starting point for “Act II: Fragmenter”?

DHEWADI HADJAB: “Acte II : Fragmenter” is a more thorough exploration of the body, focusing on its fragmentary details rather than its fundamental representation. The body, the starting point of my entire artistic approach, has been fragmented here to explore the notion of fragility. This fragmentation led me to question the body’s representation and rethink its place in pictorial space. By using mirrors, I sought to create a tension between the real body and its reflection, suggesting a form of erasure. Deconstructing the Body to Create Something Personal

WW: How does it follow on from “Acte I: Vaciller,” your previous exhibition at Mennour in 2022?

DH: I see my work as a play in which each exhibition is an act. “Act II: Fragmenter” continues the reflection initiated in ‘Act I: Vaciller’, taking the deconstruction of the body a step further. While the first act laid the foundations for an exploration of the body in pictorial space, the second goes further into the abstraction and suggestion, retaining only fragments of the body to evoke its presence.

WW: We only see partial views of your characters, whether through a door or a frame, just feet, hips, backs, shoulders. Can you explain this choice?

DH: I’ve always been fascinated by the way details can evoke a complete image. By showing only fragments of bodies, I want to invite the viewer to complete the picture and create something personal with the painting.

“I’ve always been fascinated by the way details can evoke a complete image,”

Dhewadi Hadjab

WW: A series of smaller paintings shows feet and legs in motion, one after the other. Can you tell us about this series?

DH: I’ve always been struck by the fluidity and complexity of body movement. This series allows me to explore this notion by breaking down a gesture into several stages and translating it into paint. By showing the succession of poses in this way, I wanted to create a piece that invites the viewer to slow down and appreciate each movement. This approach is part of a broader reflection on the representation of time and space in painting.

WW: What about the choice of clothing for the subject? We see sport rendered garments in a manner reminiscent of Renaissance worthy fabric.

DH: In an artistic context where painting is constantly seeking to renew itself, my work is part of an exploration of the possibilities offered by traditional materials. Drapery fascinates me by its ability to create autonomous forms and to suggest subtle movements. By integrating contemporary garments and graphic elements, I hope to anchor my paintings in our times. The white stripe, for example, emphasizes the silhouette while creating a stylistic break.

An Artistic Journey Beginning at Saint-Eustache 

WW: What was the starting point for your work at Saint-Eustache church?

DH: My adventure at Saint-Eustache began in 2021, when I was still a student. Thanks to the Rubis Mécénat prize, I was given the opportunity to carry out a project in a place steeped in history. My idea was to create an installation in dialogue with the workbench, proposing a reflection on prayer as a bodily act, close to dance.

WW: You have created two monumental paintings that are now permanent fixtures. Can you tell us about their realization—your inspirations and the impact of the site on what you wanted to create?

DH: The Saint-Eustache project was born of a meeting with Father Trocheris, who suggested I explore the theme of Saint Paul’s conversion. The subject, rich in symbolism and intrigue, immediately caught my interest. I began with a phase of in-depth research, studying biblical texts and existing artistic representations. This immersion nourished me and enabled me to construct my own vision of this scene. I then worked on sketches and models to define the composition and colorimetry of my paintings. The realization of these monumental works was a real challenge, but also an enriching experience. The context of Saint-Eustache has had a profound influence on my artistic approach. The vastness of the space, the historical charge of the site and the diversity of the audience led me to reflect on how my work could resonate with believers and non-believers alike, and to create paintings that are both intimate and universal, inviting contemplation and meditation. The conversion of St. Paul, with its notions of fall and redemption, seemed to me a a particularly relevant theme for this place of worship.

WW: What was it like to see your work in a church? To see a congregation engage with them?

DH: Seeing my work on permanent display in a church was a very enriching experience. It’s as if they come to life in a new context, in dialogue with the history and spirituality of the place. My paintings took on a new dimension in this context. Watching visitors, whether believers or not, stop in front of these two paintings, meditate and exchange ideas, enabled me to measure the impact of my work and to understand that art can be a vehicle for shared emotions and reflections. I also became aware of the responsibility put on the artist when he exposes a place as charged with symbols as the church. It was an experience that spurred me in my artistic research. It’s also a recognition of my work and a source of motivation for future projects.

“Seeing my work on permanent display in a church was a very enriching experience,”

Dhewadi Hadjab

WW: What is your own relation with the church setting? Religion or spirituality?

DH: While the church is traditionally a place of worship, my two projects have allowed me to explore another dimension. I discovered a space where art and spirituality meet in a unique way. The public who frequents these places are different, more open to a contemplative experience. My relationship with churches is more in the realm of spirituality in the broadest sense: a space for recollection, meditation, where art can play a revealing role.

The Artist’s Inspirations, Research, and Tools

WW: What’s your usual starting point in creating a painting?

DH: My paintings are born of a precise idea, often a body posture that appeals to me. I start with a phase of photographic research, where I capture bodies in motion, in uncomfortable or unbalanced positions. These images then serve as the basis for digital collages, in which I compose new forms and expressions. These collages serve as a reference for my painting. I start by drawing outlines on the canvas, then apply colors and textures.

WW: What role does photography play in your practice?

DH: I see photography as a documentation tool. It allows me to capture the precise moment, to freeze a pose, so that I can study it in detail later and transcribe it onto my canvases.

WW: Which artists influenced you at an early age?

DH: My first real encounters with art dates back to my childhood, during a visit to a flea market with my father. Discovering the catalogs of Michelangelo and Paul Klee was a revelation. These artists awakened my curiosity about art. In secondary school, thanks to my art teacher, I broadened my knowledge of the different artistic currents. Today, I’m particularly inspired by the work of Pina Bausch and Caravaggio. But I also owe a great deal to my mother, whose work as a weaver awakened a keen sense of color and motives in me.

“I also owe a great deal to my mother, whose work as a weaver awakened a keen sense of color and motives in me,”

Dhewadi Hadjab

Improvisation and Creation in a Minimalist Studio 

WW: What does your studio look like?

DH: It’s a white, minimalist cube with two large windows, lots of plants and a coffee machine.

WW: Can you tell us about a typical day?

DH: Although my days are often improvised, I like to have a certain amount of organization. After arriving at the studio, I take a coffee break to get into the mood, and I take the time to assess the progress of my various paintings, as I’m often working on several canvases at the same time. If I’m not in a phase of intense creation, I use this time to research, read or draw.

WW: What colors and textures appeal to you?

DH: I’m attracted by all textures, because each one represents an invitation to painting through its materiality and its behavior under light. As far as colors are concerned, I’m particularly sensitive to warm ranges and warm grays. I find these colors rich and enveloping, without being aggressive or acidic.

WW: Is there a daily practice that you try to maintain?

DH: I’m not tied to a strict routine. Every day is a new creative adventure. Of course, certain rituals emerge naturally, like those coffee breaks that allow me to take a step back from what I’m doing. Exchanges with my fellow artists are essential to my practice. These discussions, in which we share our ideas, doubts and discoveries, nourish my work in one way or another.