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We sat in Safwan Dahoul’s quiet workshop adjacent to his home in Dubai. The conversation unfolded slowly, much like Dahoul’spaintings themselves, meditative, restrained, and charged with unspoken narratives. Safwan is a friend of few words.
What emerged was a reflection on this gem of a triptych, three early works from 1992, paintings that are recognized as part of his monochromatic “blue” cycle, already articulating the conceptual and emotional foundations of his practice and containing the see
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