Sami Benhadj Djilali makes works that are remarkable for their formal simplicity, with an undeniable connection to the tradition of minimalism. At the same time, they communicate a high level of psychological intensity, primarily articulated through the use of glue and paint. These pliable materials are used in a way that highlights the contrast between their tactility and the rigid rectilinear forms of the works’ wooden supports. Lumped together in loose and blobby shapes; pulled apart and left to dry so they form thin, bubbly films; squeezed and sandwiched between big structures; hidden behind the front surface of the work so the viewer has to try to find them – these material intrusions add feeling and a certain kind of sensuality into the formal perfection and distance of the otherwise precise, reductive language (…)
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