The work of Mohammed NOUJMI extracts us from the infernal abyss through a creation where playfulness flourishes through paintings and installations for recycling empty tin cans.
Different geometric figures are stacked on a woody support that alternates black and white. Collage that
preserves its bossage and its uniqueness to the metal used. The chromatic tones are limited to copper and silver and sometimes seem more like small change than anything else. Then, the parallel alignments are articulated according to an architectural arrangement specific to translating a world captured in its
relentless struggle for wealth.
Elsewhere, there are cold metal installations of countless squadrons of fighter planes, armored regiments and tanks: improvised toys of recycling which transport us into a tumultuous imagination of the infernal violence in which our world is plunged.
So many transpositions about the passage from the harmless to the extremely serious in order to perpetuate oneself, to survive in the fierce struggle for power and power which continues to intensify through a metaphor full of irony
stripper.
Thus, Mohammed NOUJMI appears as a master in the art of reincarnating repulsive materials into chiseled objects of great finesse, which demonstrate his empire over metals and their work.
“Al-Arab” newspaper, London, 12/19/2019
Excerpt from the text “Questioning, openings and artistic aspirations” by Charafdine MAJDOULINE academic, literary critic and art critic.
Translated from Arabic by Ahmed MJIDOU Academic and translator