The precursors of this exhibition started in the early 1960s with the exploration of aesthetic hypotheses brought forward by the components of a work of art.
In a quest for added aesthetic values, a welding device is used to burn the surface with its pastes and colors. Newspaper, magazines, and canvas fabric are then added, along with iron, wood, wires, nails, and wood carving tools, all combined with color.
The late 1960s witnessed one of history’s more remarkable milestones: the landing of the first man on the moon, hence announcing an unprecedented victory for science. This constituted a major transformation in my intellectual and spiritual disposition and this is when the phase where I depict outer space began.
I have lately been preoccupied with three-dimensional compositions, which I used earlier in the artworks produced in the 1960s, and it played a major role in shaping the image so that figures depicted in paintings resembled sculptures. I regained my interest in the three-dimensional elements quite recently, as seen in my two most recent exhibitions which featured bronze sculptures. It was then, that I started reflecting on the aesthetic hypotheses of materials used in works of art and it was through that reflection that I created the current exhibition which revolves around a number of pivots.
First come the aesthetics that the material offers. I completely give in to the aesthetic hypotheses that can take shape during the creative process so that eventually they assume a real presence in the creation of the work of art. This is impossible to achieve without giving the material absolute freedom on the surface, as though the former is confessing its secrets to the latter. It is then that the material becomes a major component of the work at hand.
I started with raw and original materials such as fabrics of different sizes, textures, and colors as well as different types of paper. Then I introduced shapes: a circle that becomes a ball when rendered three-dimensionally, and similarly a triangle that becomes a pyramid. These shapes no longer become just color and space, but they offer endless aesthetic potential in accordance with their location and their relation with each other and the other components in the work of art.
Symmetry in the construction of works of art has aesthetics of its own. Symmetry is a cosmic law that can be seen perfectly manifested in the human body, to cite one example, which is why it has always been associated with arts from time immemorial, particularly architecture and murals of ancient civilizations.
The relationship between vertical and horizontal lines was initially discovered by ancient Egyptians, who were the first to lay the foundations of design in works of art. The two lines represent the relationship between the earth and the heavens, as the horizontal line symbolizes life on earth while the vertical line symbolizes the link between human beings and the heavens; their spiritual link to the creator. The relationship between the two lines has always been part of human existence since the beginning of creation and that is why the dominance of this relationship on the composition of the image seems quite natural.
Light also plays a major role in the composition, moving freely over the different components so that each one seems to have its own source of light. Colors in their traditional forms -such as acrylic, oil, and pastel- unite the components of each painting and create the suitable environment through which the aesthetic hypotheses of those components could come together and engage in a dialogue that achieves the desired unity.
I do hope that the works of art displayed in this exhibition are a tangible proof of the hypotheses I have addressed.