The artistic experience of the Moroccan visual artist Lamia Al-Karmai is based on evoking the power of artistic signs emanating from the Moroccan heritage, employing in her visual narration various scenes that refer to Moroccan society, such as faces and ancient Moroccan traditions, in a visual language based on the power of colors and brushstrokes to intensify the scenes and make them compatible with the vision of Moroccan artist Lamia Al-Karmai. The artist and her desire to combine what is traditional and modern in artistic work, and to create a tonal cross-fertilization between form and vision.
In the works of Lamia Al-Karmai, we see the Moroccan heritage that is evident in ancient dress, architecture, and musical instruments as an expression of the link between the past and the present with large-scale works of art that highlight her close connection to her country and its rich heritage. The artist Lamia Al-Karmai, who presented her latest paintings in a recent exhibition, was searching, as Aesthetic critic Shafiq Al-Zakari said during the opening ceremony of the exhibition about a magical movement that brings it closer to the fourth dimension in the form of a work by the artist Marcel Duchamp, and what the artist Alexander Calder came up with, when he was inspired by the shapes from the works of the artists Wassily Kandansky and Joan Miro and made them animated, moving with them from two dimensions, That is, length and width, to a third dimension, which is depth, and at the same time a fourth dimension, which is movement, with the use of wind blowing and the reflection of light and darkness on its details. Poetic undertone
Lamia Al-Karmai’s paintings are not devoid of aspects of the Moroccan heritage, the heritage of her country, Morocco, which she admired and tried to immortalize in her artistic works with a surreal, poetic touch.
Lamia Al-Karmai’s paintings, as described by critic Youssef Saadoun, “their themes range between joy and sorrow. She experimented with mixing embodiment and abstraction, and unleashed the movement of the brush and the power of pigment smears.” Her existential outlook is reflected in her works, and the human being is present in them with his various emotions, expressions, and emotions.”