Especially in her portraiture , truth becomes an element of the painting itself . Jabbur refers to these paintings as “ psychological portraits .” Through her portraits , she reveals elements of the model ’ s character . Working exclusively with people who intrigue her or have a connection with her allows Jabbur to reveal deeper levels of the individual . When searching for a model , Jabbur is not necessarily searching for someone who is classically beautiful , and sometimes it takes months to fi nd the perfect person . “ The reason I love portraiture is that I get to live with that person for a while ,” she explains . Not only is portrait painting an intimate and vulnerable experience for the model , but Jabbur explains how the artist is vulnerable as well . When painting from life , not only are you looking at the model , but the model is also looking back at you , watching the artist while they work . That can be a lot of pressure for an artist . For her process , Jabbur invites the model to her studio space , works with them in person and photographs them in multiple ways . “ The photo is just a point of departure , I don ’ t copy the picture ,” she explains . Elements of multiple images are used to create the fi nal painting which may not look like the photograph at all . This is a time consuming process and by doing so , Jabbur is able to see more of her model ’ s personality before the painting has even begun .
For her large paintings , Jabbur ’ s process begins with charcoal . “ Drawing with charcoal is liberating ,” she explains . “ If something isn ’ t working , I can just wipe it out with a cloth and try again .” Unlike oil painting , there is no preparation and cleanup when working with charcoal . She can spend a few hours drawing and walk away , not having to worry about her materials drying up . The back corner of her studio is covered with charcoal sketches . Elements of other paintings in the works can been seen drawn out in black lines . It is not uncommon for Jabbur to combine multiple sketches to make up a painting . Before the painting begins , she will hang two pieces next to each other and view them as one to see if the idea can successfully translate into painting .
Although she is mostly known for her oil paintings , Rima Jabbur does complete work in charcoal as well . From May through September 2016 , she participated in Cornell Fine Arts Museum ’ s exhibition Displacement : Symbols and Journeys . The show featured the works of artists who have been relocated from the country they were born in . Jabbur , who moved from Syria to the US when she was eight , displayed a charcoal and blood-red piece consisting of three prominent elements . The top of the image depicts two faces of the Hindu goddess Kali , with her tongue sticking out in shame . Underneath the image of Kali are two groups of soldiers that are almost identical , but one group represents ancient Syrian warriors , while the second group of men is dressed in modern garb . “ War will never stop ,” Jabbur says , describing the piece . “ Hindus view war as a necessity for change , and Americans view it as a tragedy . I identify as an American , which gives me a different perspective on the world .”
Typically , Jabbur strays from painting about political issues , but lately they have seemed to leak into her work . “ I don ’ t consider myself an activist or see myself as someone who creates political art ,” she explains . Because her paintings are such a production , Jabbur ’ s subbelow , studio shot of studies of works in progress ; opposite page ; top , Time of Kali , charcoal and watercolor on paper ; bottom left , Study of Tulani , oil on panel ; bottom right , Study for Where Do We Go , charcoal on paper
Asian Lion , acrylic on wood
27 www . ARTBORNEMAGAZINE . com