Forging a symbiotic mutation between figuration and abstraction, Nadia Ayari’s compositions take a constellation of protagonists drawn from the flora of her own native North Africa. In the pieces All Day (2024) and All Night (2024), the petals, leaves and branches are recurring symbols set against a spectrum of blue tones whether they are protruding out of circular, vertical or diagonal stems. The abundant yet subtle repetition of these demarcated motifs anchors configurations of abstracted still-life images like poetry suspended in motion. Employing oil paint and embracing its textural potential, her brushwork yields a layering process on boldly coloured backgrounds where her motifs face either upward or downward evoking a sense of intense gravity. As the artist puts it, “my work tackles narratives of survival. Lately, I have been exploring images where, against all odds, my paintings’ branches, pink flowers and leaves are thriving; either by being in motion or in connection with one another.” Despite Ayari’s ambivalence about the usefulness of art in moments of political and moral crisis: “These two works with their rigid branches, side-lit flora, and referential background colors are my response to the terrifying violence we have been made to sit by and witness over the past year.”