Plastic artist Laila Razouk .... The essence of her art is Syria's civilizational heritage

For half a century, the plastic artist, Laila Razouk, devoted herself to the realistic school of painting and sculpture by producing works related to the Syrian cultural heritage.

Razouk, who was born and raised in the town of Al-Suqaylabiyah in the countryside of Hama, embodied her work with very clear and prominent details , as she relied on the method of mixing different layers of colour in the painting and on the various materials in the sculpture to present them through a  scenic composition, that narrates chapters from her town's history.

The artist, Laila Razouk, believes that the adherence to the land and the charming nature of Hama countryside inspire her to accomplish her paintings that describe villages and moonlight, and to paint  folkloric dress to present our ancient civilizational heritage.

On the presence of historical and museum details in the work of Razouk, the critic and plastic artist Adeeb Makhzoum shows that this artist's experience comes from her constant follow-up and continuous study of the heritage of her town despite her residence in Damascus, where the viewer  notes, in most of her work,  the rural woman with her dress that extends its roots to the Palmyrian civilization.

 

 

Makhzoum believes that the Razouk plastic project is characterized by archiving heritage and making its evidence and elements changeable materials. He pointed out that Razouk shows through her works historical knowledge of all the popular formations, art and old fashion as she is currently interested in fashion design, while taking us through some of her works to formative observations that match more with the imperatives of artistic creation, highlighting her ability to formulate small and subtle details embodying rich and different topics, including iconic and ecclesiastical paintings in which angels and horses pull a chariot carried on clouds swimming in space.

According to the critic Makhzoum, Razouk accomplished a wide range of works, highlighting the aesthetic of the transition from realism to spiritual and fictional environments, making her paintings carry an expressive and symbolic movement consistent with the historical atmosphere. He explained that the human faces in her paintings display countless worries and endless pains from childish faces and faces with older age features derived from her environment and memory, as well as embodiment of miserable shots of individuals, especially rural women, as she has shown her suffering (rural woman) as an integral part of human suffering.

The artist, Leila Razouk, will be honored during a symposium and a collective exhibition next September at the Cultural Center in Kafr Sousa, in recognition of her artistic role in enriching the Syrian plastic movement.

Amal Farhat