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Europe

Neïl Beloufa
Person - on a office window at night

Person – on a office window at night is part of a series of relief works by Neïl Beloufa that feature figures carved out of MDF board and layered with coloured leathers that articulate abstracted spaces. This particular work, featuring the architectural layout of an office window, in gold, yellow, and black, becomes animated by the stark visage of the unidentified figure contained beneath. Beloufa further personifies this work as it is also one of the works featured in his short video Inside the Studio (2021). Centered around a Toy Story-esque conversation between paintings in the studio, the video serves as a comical, yet layered commentary on the secret life of paintings. In the video, this particular work, hung sideways by the artist, attempts to communicate the error to the people in the room (they cannot hear the artwork), while they mull over which orientation looks best. This, in tandem with the relief series, offers a bold reminder on the fate of such works, which often spend their lives ‘trapped’ in storage, which is underscored by the simultaneously flat and textured appearance of the work. Produced during the peak of the Covid-19 pandemic, the work also speaks to the isolation and containment experienced by many during periods of lockdown.

 

The multi-layered practice of French-Algerian artist, Neïl Beloufa occupies the space between various dichotomies. Reality and fiction, cause and effect, presence and absence are the polarities between which the artist’s work begins to take form. Developing his reflection on these by combining various media, including sculpture, video and painting into single installations, Beloufa masterfully manages to deconstruct our contemporary systems of belief by moving between the real and the imaginative. Situating himself between these polarities, Beloufa’s practice is deeply reflective. Examining established structures of power, incidentally, those within the “creative economy”, whilst dwelling on the authority that is afforded by artists in today’s society, Beloufa eliminates his dominant role by awarding agency to actors or materials, informing one another and coexisting in installations as though they are actors and props on a set. Rejecting the alias of sculptor, or any alignment to a particular set of practices or creative processes, Beloufa works primarily as an editor, constructing scenarios to facilitate intersections between different meanings that viewers might build independently.