Galerie Hervé Perdriolle Booth 54
January 17 – 21, 2019
Metropolitan Pavilion 125W 18th Street New York

Sanana was born in Essaouira, a major fishing port on the Atlantic coast of Morocco. He’s been a fisherman since he was a kid. Sanana goes both on small wooden boats and on large boats fishing on the high seas along the Sahara coast. When he embarks, he is absent for several weeks or even months. Sanana began painting, encouraged by Frédéric Damgaard, in the 1990s. His first solo exhibition took place in 2002 at the Damgaard Gallery. He will always lead his job as a fisherman and his passion for painting. Sanana has forged a personal and enigmatic style. No character, no precise animal in his paintings. In the middle of these intertwined colors, pops up full of little eyes that look at us like a strip of fish in the sea. Sanana is a dreamer who puts his dreams of sailor on the canvas with the colors of his universe: the sky, the sea and the desert. Sanana paintings were exhibited at the Manoir de Martigny (Switzerland), the Fundacion Jakober (Spain) and at the Institut du Monde Arabe (France).

While they invoke the highly symbolic cosmology of Hindu Tantra, these contemporary, anonymous paintings from Rajasthan are unlike the more familiar strands of Trantric Art. The progeny of hand-written, illustrated religious treatises from the 17th century, copied over many generations, these paintings have evolved into a distinct visual lexicon used to awaken heightened states of consciousness.
Made in tempera, gouache, and watercolor on salvaged paper, they are pinned to the wall for use in private meditation. Possessing uncanny affinities with a range of 20th century abstract art, the paintings also have a vibratory beauty that inspires acute attention even in the uninitiated.
True to the tantric spirit, it seems that the precise meaning and symbolism of the designs is not fixed. However, some general guidelines were codified long ago and transcend this specific tradition, and so are readily recognizable: for example, ovoids represent linga (hence Shiva), spirals give a form to energy, any set of three can depict the three gunas, and the colour blue symbolizes the pure sky of consciousness which contains all phenomena and experience.
From Tantra Song by Franck André Jamme Publisher Siglio Los Angeles 2011

VYAKUL (1930-2000)
Vyakul (meaning « the excited one » in sanskrit) was born in 1930, in a village of Rajasthan, India. His family was brahmanee and moved soon to Jaipur, the nearby capital town of the State. He begins painting very young. He is then mainly enticed by colors.
Still very young, he begins collecting worship or magical devices, and all sorts of « curios ». He shares his life between this two callings. One is overt, makes him known and acknowledged through the whole country: he soon sets up a museum to display it, which will grow into the biggest private institution. The other calling is clandestine: he paints since his earliest years, this is his hidden passion. His first works in the « tantra-folk » style and then, in the early sixties, he finds his own way.
Strange artist. To begin with, he has no studio. Works anywhere but always safe from observation. Secretly. And he doesn’t paint daily, far from it, a few times each year and for a few days, when it really « overruns » him, he says, when it « overwhelms » him ; when his eyes « catch fire ». And he knows nothing of paint-shops. He makes his colors himself, grinds plants, stones, clay, cow’s urine, coal, glues, flowers and powders.
From Notes about Vyakul by Franck André Jamme, 1993

Jean-Daniel Allanche painted and repainted endlessly the apartment, walls, floor, ceiling, that he bought in 1975, rue des Ciseaux in Saint-Germain des prés, Paris. His paintings are complemented by a vast accumulation of collected objects. African and Indian sculptures, souvenirs of trips and places of living. Objects of all kinds similar to a collection of modest art accumulating, agglomerating under the stairs, in every nook and cranny of the apartment. Jda, as he liked to sign some of his elucubrations (Latin elucubror : work carefully) has, enigmatically, refused to show his work, his space of expression. Professor of Physics and researcher, he has left behind him, beyond him, this complete and enigmatic work. A major work of art similar to an installation, a curiosity cabinet, accompanied by a few gouaches and paintings as so many sketches of the art on his wall.

was born in 1956, near Essaouira in Morocco. Construction worker by profession, his creative vocation was first exercised in stone carving and then on Thuya roots carving from which he drew zoomorphic or human representations. He starts painting, drawing his themes from everyday subjects and incorporating figures from African mythologies. He thus witnesses the traditional heritage with its customs and rites to which he brings his personal touch. He is today one of the most renowned Moroccan singular artists. The paintings presented here date from the late 80s to the early 90s. They are among the very first made by Mimoune. They have the ingenuity and priceless freshness of the original works.

The painting of the Warli tribe is one of the most popular in India. Animist people speaking a dialect without writing, the Warli have created a pictography that is common to them. Two triangles join in their opposite peaks to represent the torso and basin of the painted figures. By tilting at will one triangle in relation to the other, the Warli animate the characters thus summarily represented and, in the absence of writing, thanks to this invention of the animation, tell in image their customs and way of life. Engaged with NGOs for education and against deforestation, Mayur and Tushar Vayeda, born in 1987 and 1992, revitalize the ancestral painting of their community. Their art evokes Warli mythology and is enriched by their social implications.

Paban Das Baul, born in 1961 in West Bengal, is an Indian singer and musician of the Baul tradition. The Bāuls, the fools in Bengalī, are groups of itinerant musicians who travel through Bengal singing religious songs and begging for sustenance. In Hindi, they are called bardāī, a word probably of the same origin as our bard. Before Rabindranath Tagore became interested in them, the Bāuls did not enjoy great prestige in Bengali society. Tagore has been influenced by the movement in his poetry, music, and thought; some of his songs are considered to be bāuls works. Paban Das Baul, renowned singer and musician has always painted and drawn, rarely exposing his work.