Miloud Labied’s painting seems to be an abstract composition. However, as in most of his works, Labied combines abstraction and figuration, often inserting fragments of the human figure in his paintings; indeed, one can here distinguish the outline of a woman’s profile.
Like his other works, this painting remains untitled. Labied believed that the pictorial language was clear and efficient enough in itself.
One of the characteristics of his work, which we find here, is the circular line which seems to swirl in the center of the composition. These round shapes contrast with the relatively straight lines drawn along the edges of the canvas.
Although black and white are omnipresent, Labied also inserted touches of blue, green, yellow and red that give liveliness and dynamism to the work.
Born in 1939 in Kalaat, Morocco, Miloud Labied was a self-taught artist. His artistic career began in the 1960s. His encounter during his twenties with Jacqueline Brodkskis, who managed the painting workshop for the Ministry of Youth and Sports in Morocco, was decisive for his future career. Although well-known for his paintings, Labied had also tried his hand at sculpture and photography.
Initially a figurative painter, he quickly turned towards abstraction.
Although he considered himself to be a “researcher painter”, constantly renewing his style and incorporating into his works whatever he had at hand, there always remained a common point to his compositions: the circular line. Apart from the new range of more sober, subdued colors, and a certain “explosion” of painted shapes, his most recent works are not very different from the initial ones.
Since his first exhibition held at the Museum of Oudayas in Rabat in 1958, he has participated in several others, both in Morocco but also abroad, such as in Egypt, France, Portugal, Iraq, Denmark, among others.
Miloud Labied passed away in 2008, after a long fight against cancer.