Tunisian painter Rafik El Kamel situates himself within the ebb and flow of artistic trends, eluding easy classification and transcending the theoretical binary between abstraction and figuration. With both languages arising from one another throughout his work, intuition and coincidence prevail over calculated expression. He channels his vision into the intricate interplay of planes, shaped by light and shadow, as he contemplates an arrangement of spaces in a cluster that breathes life into his paintings. His abstraction research is enriched by a predilection and affinity for collage, aroused by its plastic dimensions, which converge with abstract expression. This technique, with its playful yet disciplined dimension, imposes yet a discipline of choice, prompting our gaze to insinuate and interpret clues of spaces. His canvases, wit their deep blue monochromatic compositions, are populated by blotchy divisions or units, dismantling the anchoring chroma of the surface. These fragments emerge at times as scattered cellular organisms. In the absence of a gratuitous nostalgia, the focus of his paintings shifts toward the revelation of the secrets of forms, toward the impromptu of a hazard or the delicate mass of a rupture. The cautious demarcation of a tangible subject is deemphasized in favour of a predominant pictorial layering of tearing and revealing. The impulse for movement circulates throughout these graphic clusters, bursting from their edgy contours. It creates a tension between order and fluidity without overwhelming our senses; the contrasts diffuse light and fade into one another, continuously experimenting beyond external noise.