My Way, My Vision,

Booshra Mastour

As I advance further and further in life, my vision divests itself from anything superfluous.
Far from being a deliberate leap at its origin, the present development is really a personal acknowledgement of all the artistic experiments accomplished along my (more and more) liberated path.

My Way, My Vision,

Booshra Mastour

Français

Photo Anthony DEHEZ – Be Perfect

The pictures I paint are best experienced in the darkness then under lighting.
The materials I use blend pertinently with the oil, not presenting a threat to the
permanence of the whole piece, whatever may be said in this regard.
A brush alone would bind me, regardless of how precious it may be. The easel
freezes me. The frame restrains me.

Before loving painting, I love the materials and the tools.

I love to paint like I love to cook, such as when the ingredient and the tool is taken
into consideration.
That suspended second when something inside us takes measure of the needed
respect, whilst also, fully recognizing that the beauty is first.
Seizing it. Observing it, flaring it, or tasting it.
To receive this, suspecting its resonance, then instantly knowing the wealth in its
manifolded information, without the need to know (intellectually) its many virtues.
They will unfold soon enough, rather than later.

To create?

Right when first starting to mix the pigments, we start the act of co-creation with-in
the frequency offered to us.
In my vision, to develop oneself as one’s own teacher is to go through life in such a
way that all the disciplines of the living ARE the Art School.
Be it science, gastronomy, medicine, the trees, the ants, advances in the discoveries
of our universe, or on our human brain: everything in my eyes unifies to participate in
the co-creation of our evolution and teach Art with a capital A.

Photo Anthony DEHEZ – Be Perfect

The pictures I paint are best experienced in the darkness then under lighting.
The materials I use blend pertinently with the oil, not presenting a threat to the permanence of the whole piece, whatever may be said in this regard.
A brush alone would bind me, regardless of how precious it may be. The easel freezes me. The frame restrains me.

Before loving painting, I love the materials and the tools.

I love to paint like I love to cook, such as when the ingredient and the tool is taken into consideration.
That suspended second when something inside us takes measure of the needed respect, whilst also, fully recognizing that the beauty is first.
Seizing it. Observing it, flaring it, or tasting it.
To receive this, suspecting its resonance, then instantly knowing the wealth in its manifolded information, without the need to know (intellectually) its many virtues.
They will unfold soon enough, rather than later.

To create?

Right when first starting to mix the pigments, we start the act of co-creation with-in the frequency offered to us.
In my vision, to develop oneself as one’s own teacher is to go through life in such a way that all the disciplines of the living ARE the Art School.
Be it science, gastronomy, medicine, the trees, the ants, advances in the discoveries of our universe, or on our human brain: everything in my eyes unifies to participate in the co-creation of our evolution and teach Art with a capital A.

In painting, as in any other activity, diving into detail can be a major leap if one wishes to truly give themselves and evolve. Art, painting, work, are possibilities for the penetration of consciousness we offer ourselves. Then, to be able to share it with our fellow man, be it only one or all the members ofhumanity. To give way for this clarity before saying Bismillah or Bereshit!
First and foremost, to open oneself up to what is so discreet that it escapes us. It is a choice. A commitment. Obverse it fully.
To give up, willfully, the too eager evicting of the unknown outlines that put into question the ones we know, that have been established for us, internalized, and mastered by us.

That is what painting is to me.

It is the writing of an intimate work ô so common to us all.
It is a re-transcription, a reminder, the testimony of the living at our flank. Painting is knowing we are great without ever forgetting how small we are.
It is seeing one’s work differently, doing it at a different pace.
To install oneself into this larger, unformatted space-within becomes…voluntary.
I only truly know when I know that I know nothing…that is what painting has made me discover. So then…Be still and know.
From there on, all gets built, and what eluded us appears.
Vibrating, as if coming out of nothingness.
Vibrating, as if out of nothing was born everything.
Nothing esoteric or spiritual.
Nothing mental or intellectual.
Nothing to be believed. Nothing to be known.
All is to be observed and experimented by oneself.
To experiment. Oneself.
Plunging into detail will turn out to be as grand and without end as plunging into the universe’s infinite vastness, or as grasping the infinite smallness of a cell.
A cell doesn’t cognize, it simply knows.
So does a planet.

Photo Anthony DEHEZ – Be Perfect

To tell you about my painting…

My portraits are intimate and demanding.
I am obliged to recognize that they gain to be known rather than discussed.
To discuss them would be to betray them.
They are not easily showcased; and it is not a matter of their dimensions. Not a
matter for the ones measured through the metric system anyway.
They are not easy to showcase because the traditional and classical form of
exhibition is not suited to the experience of their entirety.
To reveal themselves, the paintings would require too much from a space that would
never fit their needs and only permit them to offer very little to a numerous public.
Whereas individuals, duos or quartets of people can reach the place of the authentic
artistic encounter the portraits were born to permit.
The portrait can only truly express itself to the spectator when he concedes his full
presence and finds utter silence.
Nothing to imagine, nothing to expect.
Only to accept to settle oneself in the darkness and observe.
It is there. In this suspended Time. In the blackness and in the nothingness.
That is unveiled (in a language probably common to humanity) all that painting is the
bearer of in my eyes, and thus, the sharing of my visions, of my path as it is today.
The studio is still the place that upholds and births my work.
A place of being indissociable from the artist.

It is the intimate gallery where things come into consciousness, outline, manifest and
are then prompted into being.
The most adequate place adjusted and aligned, for the humble lovers of art and life
to experience the essence of a work and a craft as it is, without risking any editing of
its inherent necessity to be.

To tell you about my painting…

My portraits are intimate and demanding.
I am obliged to recognize that they gain to be known rather than discussed.
To discuss them would be to betray them.
They are not easily showcased; and it is not a matter of their dimensions. Not a matter for the ones measured through the metric system anyway.
They are not easy to showcase because the traditional and classical form of exhibition is not suited to the experience of their entirety.
To reveal themselves, the paintings would require too much from a space that would never fit their needs and only permit them to offer very little to a numerous public.
Whereas individuals, duos or quartets of people can reach the place of the authentic artistic encounter the portraits were born to permit.
The portrait can only truly express itself to the spectator when he concedes his full presence and finds utter silence.
Nothing to imagine, nothing to expect.
Only to accept to settle oneself in the darkness and observe.
It is there. In this suspended Time. In the blackness and in the nothingness.
That is unveiled (in a language probably common to humanity) all that painting is the bearer of in my eyes, and thus, the sharing of my visions, of my path as it is today.
The studio is still the place that upholds and births my work.
A place of being indissociable from the artist.

It is the intimate gallery where things come into consciousness, outline, manifest and are then prompted into being.
The most adequate place adjusted and aligned, for the humble lovers of art and life to experience the essence of a work and a craft as it is, without risking any editing of its inherent necessity to be.

Photo Anthony DEHEZ – Be Perfect

My permanent gallery is named “L’Atelier”, the studio.

Possibilities for reservations for a total experience are ongoing all year round.
Reservations are for one and up to four people.
On the other hand, the vernissages (also upon reservation) will present a group of paintings through a unique dinner experience and will accommodate a maximum of twelve people. The encounter with a portrait will always be with a maximum of four people, even during a vernissage.
The dates available for reservations will be announced a month prior on the website and on social media.
The vernissages are accompanied by culinary and ceramic discoveries, results of a co-creation in symbiosis with a chef and a ceramist.
The two artists draw from and co-create their respective art in symbiosis with mine, more precisely, around the featured painting.
Their choices of textures, associations, colors etc., will express their own vibratory experience of my work.