In this showing we see her characteristic realism in full force once more, her conception and manipulation of both theatrical and natural lighting is a defining feature of her art, attributing her canvases an inordinate quantity of depth and emotive aura.
As one of our most admired and enduring resident talents, Katherine Bakhoum delivers her 17th collection at Safarkhan in her typically endearing grace on the eve of the New Year this December 17, 2025 to January 7, 2026. Whilst her last collection explored the mysticism of the orient, her latest works are the purest reflection of herself in that they marry together occidental charm with the mystique of the orient in her distinctive flair. Katherine is of Egyptian-French descent, and spent much of early life in Egypt, which has had an indelible influence on her painting style and subject matter. In this showing we see her characteristic realism in full force once more, her conception and manipulation of both theatrical and natural lighting is a defining feature of her art, attributing her canvases an inordinate quantity of depth and emotive aura. As well, the staging of her subjects and themes, which cover landscapes, portraits and figurative iterations, are this time conceived in both washed and vivid palette applications in their occidental and oriental themes respectively.
Now residing in northern France between Brittany and Paris, Bakhoum offers for the first time in many years a return to depicting this tranquil region of Europe. Brittany's mercurial Atlantic coastline, undulating grassy hills and forestry, and a temperamental sky permeated by persistent blankets of clouds, give its moody overcast days a bizarrely compelling allure. As an expert colorist, Bakhoum invites us into this land she calls home, capturing its essence with a sensitivity steeped in a delicate palette and a serene, faithful composition. In all of these portrayals, an abundance of clouds are apparent, while not overtly stormy ones that portend notions of impending trouble; they are airy and fluffy yet expansive, almost imposing, in their appearance and feeling. In their seemingly shifting nature they signify notions of impermanence, whilst also giving the viewer a sense of mysterious peacefulness. In some works we see breaking clouds that conjure feelings of unpredictability, transition or divine intervention. In these occidental works, the figures she portrays are kept concealed and either in the distance or with their backs to the viewer. This effect offers a bewildering sentimentality to sceneries that are immersive and grounding, where its subjects appear as though enveloped and consumed by the sheer force of Mother Nature.
Bakhoum’s oriental subjects are again treated with the most deliberate care and attention, in portraiture that dazzles in its realism, expressive force and compositional detailing from background to garment to person and everything in between. Magnificent, almost heavenly, depictions of seafaring people again emphasize the centrality of water and the seas to this collection, something that separates the occident and orient yet that which they also share a deep connection and commonality over. Her oriental subjects are attributed a similar concealment as her occidental ones, as long as they are placed in natural settings, retaining the primary focus on their environment instead in these canvases. In stark contrast, her portraiture is effusive in its direct and unmistakable candor, and here her enchanting characters take center stage. Bahoum’s proficiency in drapery comes to the fore again, adorning her subjects in both modern and traditional dress this time. Lastly, a collection from Bakhoum would be incomplete without her delightful miniature works that span Arabian, Japanese and European depictions in their signature appeal. We get another glimpse of the artist’s undying creative flair as she introduces a pair of these miniatures using dried fruit as a medium onto which she adorns differentiated figurines, again emphasizing the preeminence of nature in her art.
