Using drawing, installations, photography and video, his oeuvres dissect the constitution of our contemporary identity. Chamekh has developed a language that challenges history and politics in their broader sense. He performs his fragmentary research to convey an ambiguous atmosphere, shifting between the experience and the violence of the individual representation. He represents an imperceptible space between a silent violence mirroring an intimate experience of trauma.
Chamekh combines fragments of the past and the present, layering pieces of history to create a space that reclaims the existence of forgotten figures of colonialism.
Unable to pin a name to all the faces re-drawn by Nidhal Chamekh (“transferred” from the pages of Le Miroir), the artist has once again radicalized the denial of their existence by overlaying contradictory half-faces among each other. This has involved not so much blurring identities as taking the risk of laceration and tatters in order to get as close as possible to the mute wounds of a history told by the official winners.
The Exile (2018/2020) series mark 10 years since the artist's departure from Tunis to Paris. This is the only truly autobiographical work in which memories of childhood and elements of his life as a foreigner intertwine, in addition to notions of history, literary and philosophy, references significant to the artist and which forged his conception, theoretically and his approach as an artist.
Far from the exotic image of exile, the drawings are related to his personal and human experiences, they propose to renew the aesthetic as well as political question of the exilic experience. It is an existential core, that is to say individual and collective, a dense paradigm that the artist freely distributes in his drawings.