Rawan Al Adwan’s artistic practice reflects her cultural background as well as her current surroundings as the artist works and lives
between London and Geneva. Rawan Al Adwan was honoured by the Ministry of Culture in Jordan for her role in contemporizing Safaitic Rock art.
became influenced by ancient inscriptions and drawings discovered on old basalt volcanic stones in the
Jordanian Desert. The graffiti on these stones contain drawings of animals, hunting or battle scenes, and provide an insight into the emotions and concerns of the people who carved them. It was whilst working in the Jordan Museum in Amman that she was inspired
to study these inscriptions and drawings in detail. Upon visiting their origins in the Jordan desert, The painter created her own contemporary paintings based on these mysterious and beautiful relics. In doing this, the artist hopes to maintain and reflect
the spirit of these ancient art works in the context of the 21st century. She acknowledges the beauty and historical value of the Safaitic drawings and calligraphy, which the artist believes should find their rightful place on the map of the global Art alongside
other indigenous arts of Australia and African Tribal Art.
Since Rawan has been living in Europe, the landscapes of Switzerland and the United Kingdom, their light, the cold wind, the air, along with European Art History and imagery had a strong
influence on her creations. For instance, Francis Bacon and Johannes Vermeer’s atmospheres meet in some of her paintings, her painting entitled” The bird, buffalo and the chair” depicting a flamboyant bird sitting on the back of a submissive
Her works highlight that in both cultures, the narrative is major in order to pass on the imagery of mysticism and symbolism, the foundation of communication within cultural structures. In different cultures, mysticism and symbols are always
present, but shared and shown in different ways. Inspired both by past and contemporary histories and landscapes, she takes the right to depict her own very specific version of nature, landscape and History. Her talent resides in being able to show the parts
where the two cultures, past and present, Jordan, United Kingdom and Switzerland, are able to dialogue.
She narrates this dialogue in her paintings, thanks to the use of bright and softer colours, thick and smoother textures. Like if the
painter was trying to deliver a clear message, while leaving room to conversation, by placing figures in unsettling backgrounds. The scratched textured surface is agitated and, in this way, connects with the Safaitic thought processes of drawing and representing
animals as spiritual beings. The vibrant and voluptuous animals explode with colour and texture, referring with a use of colour that has evolved in Art History along the years.
Animals, whose appearances are often royal and powerful in her paintings,
are the strength and the foundation of her paintings. They are depicted in detail, and sometimes larger than the human figures, which stay small and vague. From any location, Jordan or Switzerland, nature and animals seem stronger than human beings. The nomadic
figures in her paintings, inspired by safaitic epigraphy’s that found in the Jordan Desert 1000 B, C. also seem to have crossed great lands which are now behind them.