Time in Motion features works by Assadour (b. 1943), a renowned Lebanese-Armenian artist born in Beirut. This exhibition, held at L’Art in London from September 12 to October 31, is the second show of Assadour’s work in the city, following a successful exhibition at Cromwell Place earlier this year. This time, the event is a collaboration between L’Art, Artscoops, and Janet Rady Fine Art, and showcases over four decades of Assadour’s artistic evolution.

Time in Motion features works by Assadour (b. 1943), a renowned Lebanese-Armenian artist born in Beirut, who left Lebanon at the age of eighteen to pursue his artistic training with scholarships from the Italian Cultural Centre in Beirut and the Lebanese Ministry of Culture. Initially recognized for his engravings, Assadour has also created an impressive body of work, including gouaches on paper and oils on canvas. This exhibition, held at L’Art in London from September 12 to October 31, is the second show of Assadour’s work in the city, following a successful exhibition at Cromwell Place earlier this year. This time, the event is a collaboration between L’Art, Artscoops, and Janet Rady Fine Art, and showcases over four decades of Assadour’s artistic evolution. Assadour’s œuvre is emblematic of his exploration of the modern condition, touched by alienation. Drawing inspiration primarily from the Constructivist movement, Assadour’s works utilise geometric abstraction to create rationally produced compositions. The melange of geometric shapes, letters and even numbers create diagrams, revealing a rational system of thinking and design that refers to clockwork and the passage of time. In the 1980s, Assadour began exploring landscapes filled with geometric shapes illustrating fragmented cities. A decade later, the exploration of such themes persisted with the inclusion of human silhouettes, questioning the construction of identity, our relationship with time and the uprootedness caused by war. Other works from this period also drew influences from East Asian aesthetics, to which he was exposed during frequent stays in the region. Several decades later, Assadour continued to include abstract human figures in his works. Compared to his previous works from the 1990s, however, these shapes exhibit more defined gradations in colour, creating a pronounced three-dimensional effect. Assadour’s rich and diverse pieces stand in a league of their own, appealing to different cultures. Characterised by a unique approach to the human condition, the limited number of his pieces contribute to their rarity, making them highly sought after.