It is tempting to look at Saloua Raouda Choucair’s work as a demonstration of how the modernist ‘language’ of abstraction crossed ethnic and national boundaries in its bid to become a universal mode of communication, one stripped of the proclivities of local linguistic and graphic inheritances in order to tap pure affect and sensation. Choucair is Lebanese. Born in 1916, she travelled to France during the late 1940s, where she encountered Le Corbusier’s architecture and studied with Fernand Léger –…
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