_{de-coding colors, Exhibition view, Sfeir-Semler Gallery Karantina, 2023}

Samia Halaby (b.1936 in Jerusalem) is a Palestinian-American artist, and scholar living and working in New York.  
Halaby is a painter who was educated in the 1950s in the American Midwest, at a time when abstract expressionism was popular, but female abstract painters were often overlooked. While her work is very much in line with American art movements she evolved with, it is today central to the study of abstraction and its sources within the contemporary Arab visual language. In her practice, she methodically studies the textures, surfaces, and colors of her surroundings, through the prism of her ongoing theoretical studies. Looking at the effect of light on the aspect of objects around her, or creating illusions of roundness on plane surfaces, she continuously investigates how the human eye sees and records the world. In the mid-1980s, her time as a visiting artist at the University of Hawaii marks a turning point in her exploration of motion. The constant flux she tries to capture on canvas pushes her to break free from the traditional rectangular fabric. Playing with time, space, and movement in her work, she produces large installations that extend beyond the canvas edges, shaped and cut-out canvases, three-dimensional mobiles, and unconventionally large paintings that force the viewer to walk alongside them. Using the most advanced tools available to her at the time, Halaby teaches herself coding, and starts in 1986 to program kinetic paintings on an amiga computer, even coding sound into several. These experimentations with computer-generated visuals naturally evolve into the Kinetic Painting Program, through which she transforms the keyboard of her PC into a live digital painting instrument. In over six decades Halaby has produced an immense body of work and is a very particular, innovative figure within her generation of artists. Understanding what parts of a painting the eye will first see, and how our mind will record the visual, she constantly foregrounds works and techniques and, in retrospect, was at the avant-garde of artistic production throughout her career.