Safaa Mazirh by Bernard Millet
Safaa Mazirh took her first images in Southern Morocco, photographing young children in remote villages. Her use of black and white is striking, with close-ups that de-contextualize the faces and a play of light that darkens the eyes, stripping the scenes of any sense of reality. In the following “dolls” series, Safaa Mazirh confirmed her ability to project the beholder into a world where imaginary takes over the real. This dramatization of the real thus becomes an essential determinism of her creativity—which she will toy with in her series of bodies.
Her bodies are a natural extension of the research process by which she questions both the subject and the ability of the photographic technique to translate her artistic experience. A process nurtured by other components. Indeed, she closely investigates the works of Mohammed Kacimi, Mahi Binebine or Frida Kahlo, and their research about the body liberated from the material space of the painting. She senses that all three deal with the body, theirs or others’, projecting it into another space, as if to liberate it by finally placing it at the heart of their own drama.
Safaa Mazirh’s images of bodies are along the same vein. The body is moving, often blurred, and the effects of light and matter fully perform their part: the images are shrouded in undecipherable mystery, like an evidence detached from a biographical narrative that finally belongs only to the artist, and leaving the beholder on his own to confront his own dream.