With the Bloom series, Rita Alaoui pursues a motif that silently runs through her entire work: the flower. Present in her practice for over twenty years, it reappears here like a mantra, a repeated pictorial breath that marks the time of creation and that of life. Painting a flower, again and again, becomes for the artist a gesture of memory and rebirth—a stubborn reminder that everything that fades blooms again elsewhere, differently.
Bloom’s flowers emerge on paper like apparitions: vibrant, even pop figures against a walnut-brown background, sometimes crossed through with transparencies and drips. They seem to be born from a breath, from an inner movement rather than from an observation of reality. Far from any mimesis, they assert their singularity through repetition—each motif is unique, yet part of the same cycle, the same vital rhythm.
Following on from previous series, Bloom extends Rita Alaoui’s meditation on transformation, disappearance, and regeneration. The floral motif, like a recurring symbol, becomes the space for an intimate experience of time: a space where memory, matter, and light blend to express that beauty is always reborn from the living.
Bloom 20, 2025. Works on Paper
Bloom 20, 2025
From The Bloom Series
Acrylic on paper (270 gr)
Dimensions: 50 H x 35 W cm.
Signed at the back
Unframed
Born in 1972 in Rabat, Morocco. Lives and works in Paris, France.Graduate of Parsons School of Design, New York.
Rita Alaoui seeks to explore and rethink our relationship with the wild world and imagine connections with the extraordinary. Fascinated by the power of nature, by the healing virtues of plants, and concerned about a disappearing world, she focuses her approach on representing a dreamlike, sacred, and healing nature. Initially a painter, Rita Alaoui varied her modes of creation, ranging from painting to drawing, photography, installation, artist book and more recently video and performance.
With a protocol that may recall that of botany or archaeology, she places collection, accumulation, and observation of natural and seemingly ordinary objects at the center of her work. She collects and meticulously organizes them in the temple that is her studio, granting them a form of unsuspected sacredness or spirituality. She imparts an animistic dimension to each small fragment of bone, stone, seed, or plant.
Her work is regularly exhibited in France, Morocco and internationally.
