Berirouche Feddal

Montreal, Canada

Biography

«Simmal nettidir la nsell.»
«The older we get, the more we hear.»

Originally from North Africa, from present-day “Algeria” and more precisely from the region of the Kabylia mountains, affiliated with the Igawawen of the Nath Irathen arc and of the Amazigh heritage, Berirouche Feddal (Vrirouc nat uqassi, ⵠⵔⵉⵔⵓⵛ ⵏⴰⵝ ⵓⴽⴰⵙⵉ ) is a Montreal artist recognized for his transdisciplinarity. He graduated with Honors in Print Media from Concordia University in 2020. His work has been shown at Bradley Ertaskiran (Montréal, Canada), ARTCH-Emerging Contemporary Art (Montréal, Canada), Ubisoft L’art s’affiche (Montreal, Canada), Conserverie Marrakech (Marrakech, Morocco), Maison de la culture de la Rivière-des-Prairies (Montreal, Canada), Fofa Gallery (Montreal, Canada) and Stewart Hall Gallery (Montreal, Canada).

About the artwork

Berirouche Feddal’s artistic approach explores themes of historical violence, migration, African popular culture and religious symbolism. Drawing inspiration from his personal memories, he evokes his native Kabylie and the tragedies that have struck Algerian history. He exploits subjects that affect his environment, circulating between his African origins and his current life. He uses bright colors, inspired by carpets made by his grandmother in the 1970s, to address this violence. Refusing to abdicate his culture, his language and his identity, the artist exploits subjects linked to his person and his memory, amalgamation of discoveries, anecdotes and, sometimes, revolt. Tracing his Amazigh African origins through the collection of biographical photographs, he blends past and present in a body of work that could be understood as split self-portraits evoking the fragility of memories and the mark left by our past experiences.

«Feddal is constantly removing and reapplying layers of materials, a process that mimics how memory is passed down through generations, added to and shaped, an accumulation of fragments over time. Feddal’s multidisciplinary work is unconcerned with historical accuracy or easy-to-read narratives, bridging the past with the present suffices. In manipulating some elements, he reveals others.» – Galerie Bradley Ertaskiran