In Chromatic Structures, Taher Jaoui approaches color as a way of building. He doesn’t use it as ornament or a finishing touch: for him, color is structure—a mechanism that organizes the painting and gives it meaning.

His compositions are erected from edge to edge without a privileged center. The entire surface participates equally: each zone pushes, breathes, and responds. The process blends automatism with layered work—oil, enamel, spray, charcoal—in a very clear dynamic: chance opens possibilities, and the artist decides how they are organized. One intervention calls for the next until a sustaining equilibrium emerges.

In this exhibition, the focus falls above all on Powerfull, the series that most clearly and ambitiously unfolds his chromatic architecture. Here, color doesn’t accompany—it leads. It defines zones, opens perceived depths, and proposes paths for the viewer’s eye. The palette—vibrant and often contrasted—is arranged in modules that overlap and negotiate their place. Every chromatic decision is a fine adjustment: how much weight an area can bear, where to slow a rhythm, what temperature binds or separates forms. The gesture remains active but channeled: color doesn’t “describe” what already exists; it constructs what happens. The painting becomes a field of forces that breathes with clarity without losing intensity.

Alongside Powerfull appears an essential counterpoint, Black & White, a line of inquiry that functions as the artist’s laboratory—a chalkboard of notes. By withdrawing color, Jaoui exposes the syntax of the picture: the architecture of lines, grids, and cuts where tensions are tested, directions corrected, and anchors set. It’s a key series because it sharpens the system: it lets us see, with precision, how space is articulated and how decisions are made. And above all, it makes clear that Powerfull isn’t an arbitrary outburst but the result of a worked-through grammar.

Taken together, both lines uphold a single idea: organizing impulse until it becomes legible. Ovals and rectangles, grids and X-forms, near-mathematical signs and energetic strokes do not decorate; they distribute weights, strain voids, and set the tempo for how the eye traverses the painting. What may first appear chaotic is ordered over the time of making: layers that appear and are veiled, interruptions that cut through inertia, anchors that stabilize the whole.

Ultimately, Chromatic Structures invites us to read Jaoui’s work as a chromatic architecture: color—foregrounded in Powerfull and distilled in Black & White—grounds the intelligibility of the painting. It is not an expressive supplement; it is the mechanism that organizes space, time, and meaning. And there, with particular force in Powerfull, one of the artist’s masteries comes into focus: chromatic composition as both principle and outcome.