20 january 2025, Wouter van den Eijkel
The studio of... Nour-Eddine Jarram
Over the past years, Nour-Eddine Jarram has been working in his studio in Usselo, Overijssel, on a series of watercolours addressing the refugee crisis. Jarram takes us aboard a refugee boat crossing the Mediterranean Sea, showing us the refugees and human traffickers, the endless waiting on arrival in Europe and the work they do in Europe – legal or otherwise.
In 'Ran Away', currently on view at Galerie Maurits van de Laar, he alternates this timely yet confronting subject with watercolours based on the landscape around Usselo. Like his idol Ruysdael, Jarram’s work is not a literal depiction of reality, but carefully composed. “It was important for me to escape the heavy subjects associated with the refugee crisis and create a kind of paradise that contrasted with this grim world.”
The exhibition 'Ran Away' featuring work by Nour-Eddine Jarram, can be seen at Galerie Maurits van de Laar in The Hague until 2 February.
Nour-Eddine, you live and work in Usselo, a small town near Enschede. What does your studio look like?
I’ve lived in Enschede since 1979. In 2013, I was forced to leave my former studio. After a challenging search, I found a studio in Usselo, a small village on the outskirts of Enschede. I rent the space at an old farm. It’s far from ideal due to the cold, but its location, especially in spring and summer, is fantastic.
Nour-Eddine Jarram in 'Ran Away' in Galerie Maurits van de Laar
Congratulations on 'Ran Away'! In the exhibition, the Usselo area appears in your work. Is this rural environment important to you?
The Usselo watercolours were created over the past two years. It was important for me to escape the heavy subjects associated with the refugee crisis and create a kind of paradise that contrasted with this grim world.
The Usselo landscape has fascinated me from the very start. It was the first time I found myself truly immersed in a landscape and encountered the works of the Dutch Masters, particularly Ruysdael. His works of art were not literal representations of reality, but meticulously composed, a method I’ve also applied to my Usselo watercolour series.
The subject of the exhibition could hardly be more relevant. 'Ran Away' focuses on refugees and migrants. Why did you decide to start this series?
Since 2016, I’ve been working on a series about the refugee crisis, focusing on both Syrians fleeing the war in their country and African boat refugees seeking a better future. These works reflect great social engagement, human compassion and a targeted focus on the unimaginable, concrete suffering of people on the run.
I read that much of the imagery underlying your work comes from media or social media. How do you select images for your work?
Not all imagery in my work comes from the media. Much of my work has a different origin. Everything around me can serve as inspiration, even a thought or feeling. There are many portraits in my work of unknown people whose faces emerge while I paint. The image I decide to use must inspire me to discover multiple layers within it.
Nour-Eddine Jarram, no title, 2024, Galerie Maurits van de Laar
One of the consistent elements in your work are references to Western art history. In 'Ran Away', the landscapes of Usselo have Ruysdael-like skies. You’ve previously painted a Frans Hals portrait and created a contemporary version of Géricault’s Raft of the Medusa. Can referencing a tradition be seen as bridging two worlds?
The first Western works of art I saw in person were by Delacroix and Géricault in the Louvre in Paris, followed by The Night Watch at the Rijksmuseum in Amsterdam. I immediately felt a kind of recognition in their work with the world I came from. I was especially fascinated by Rembrandt’s chiaroscuro, which remains visible in my work today.
To me, it is essential to keep returning to these masters and comparing their work to mine. Both worlds must be able to manifest and strengthen each other; that’s how I feel complete.
A related theme in your work is the position of Moroccan-Dutch youth and by extension, the West. Having moved to the Netherlands at a young age, you probably empathise with them. How would you describe their position?
In 2015, I began creating the Moroccan Youngsters series. I saw these youths presenting themselves on social media, flaunting their branded clothing like successful celebrities. It actually started with discovering the profiles of my nieces and nephews on Facebook. I was fascinated by their powerful selfies, which spoke volumes. At their age, I didn’t have the privilege of a window to the entire world. I then began comparing these youths in Morocco to their peers in the Netherlands. I saw no difference between them; they have the same dreams and challenges.
This resulted in a series of 114 portraits of these youths. The expression ‘between a rock and a hard place’ applies well to this generation, which tries to balance two very different cultures. You need to be strong to find and maintain your equilibrium, which isn’t always easy. This has harmed their reputation. They feel misunderstood and that no one listens to them. Through this series, I aim to place them on a pedestal and pay tribute to them, thereby offering a more nuanced image of them to Dutch society. Much to my delight, the Rijksmuseum in Amsterdam has purchased the series in its entirety. I hope it will soon be on display there, providing the best possible platform for both me and these youths.
Nour-Eddine Jarram, The Wait, 2023, Galerie Maurits van de Laar
If time and money were no object, is there a project you would like to carry out?
At the moment, my wish would be for a larger, warmer studio where I could create larger watercolours and resume painting on canvas. Sculpting, especially with wood, also remains a dream of mine.
The year has started well for you, with a solo exhibition already underway. What are your plans for the coming year?
This year, I want to further explore the Twente landscape during the different seasons. But you never know how things will develop. I feel strongly about continuously surprising and renewing myself.
