Taymour Grahne
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Group showDallas Art Fair, booth B2

Project space
14.04.16 – 17.04.16
Taymour Grahne Projects
01 / 04

Group showDallas Art Fair, booth B2

Project space
14.04.16 – 17.04.16
Taymour Grahne Projects
01 / 04

Group showDallas Art Fair, booth B2

Project space
14.04.16 – 17.04.16
Taymour Grahne Projects
01 / 04

Group showDallas Art Fair, booth B2

Project space
14.04.16 – 17.04.16
Taymour Grahne Projects
01 / 04

Group showDallas Art Fair, booth B2

Taymour Grahne Gallery is pleased to announce its inaugural participation in the eighth edition of the Dallas Art Fair. The gallery will present recent works by three Brooklyn-based artists: Nicky Nodjoumi, Nadia Ayari, and Daniele Genadry.

Nicky Nodjoumi

A Rooster in Prospect Park in Brooklyn

2016

Oil on canvas

182.9 x 132.1 cm. / 72 x 52 in.

01 / 08

Nicky Nodjoumi

Nothing to Worry About

2015

Oil on canvas

183 x 127 cm. / 72 x 50 in.

01 / 08

Nicky Nodjoumi

Seville, Bull Fighting Series

2014

Oil on canvas

50.8 x 61 cm. / 20 x 24 in.

01 / 08

Nicky Nodjoumi

Political Opposition

2015

Oil on canvas

28.7 x 38 cm. / 11 1/4 x 15 in.

01 / 08

Nadia Ayari

Fit

2015

Oil on linen

61 x 56 cm. / 24 x 22 in.

01 / 08

Nadia Ayari

Kiss

2007

Oil on canvas

45.7 x 50.8 cm. / 18 x 20 in.

Signed on back

01 / 08

Daniele Genadry

Invisible City

2014

Acrylic and oil on canvas

130 x 204 cm. / 51 1/8 x 80 1/4 in.

01 / 08

Daniele Genadry

Familiar Mountains (Island)

2014

Acrylic on wood panel

45.7 x 61 cm. / 18 x 24 in.

01 / 08

Nicky Nodjoumi’s nuanced figurative paintings engage in political discourse with a satirical touch, layering the artist’s personal heritage and lived experiences into scenes that resonate beyond specific historical contexts or geographical boundaries. Combining historic references, surrealist abstraction, and social realist critique, Nodjoumi uses his practice to explore the intersection of his personal history with the politics of alienation and dislocation.

Daniele Genadry’s work considers the construction of visual experience through memory, movement and migration. She uses various media to create and translate images of landscapes and examines how this mediation alters our perception of time and space. Multiple viewpoints, decentralized images, and shifting frames within the work address the distance necessary to merge a documented moment with the narrative of passing geographies.

Nadia Ayari uses her practice to explore the intersection between primary forms: the fig, branch and blood. Employing images of submission and isolation, her paintings are stilled in (or out of) time— relating conceptual narratives of love and captivity.