Ayman El-Semary and Rural Minimalism
Ayman El-Semary represents a genŽeration that came of the Youth Salon which I consider as the break through that provided a serious and vital opportunity of unprecedented exhibitions and workshops for El- Semary's generation and his col-leagues. He was one of those who shined at the sessions of the Youth Salon with his successful experimental paintings.
El-Semary started his experience within experimental abstract framework, using natural materials which fulfilled their original functions for long decades through usage, coexistence with humans, with layers of coatings and scratches over their surfaces like the wood panels, extracted from ruined houses, with the big iron nails and the successive holes, which belong to the same kind of usage by human generations with the different kinds of wood panels.
El-Semary is obsessed with his rural roots and looks for the natural coexistence be-tween materials, humans and time as well as the effect of each on the others; his works are considered as a parallel record to the Egyptians life in the Delta from a point of view that was never considered by those interested in studying the heritage of this vital region of the homeland. Unlike other folk art and folklore experts, he was interested in neither the pilgrimage murals nor the houses decorations referred to by either using direct symbol or showing the advanced social status and the types of decorations made by the folk artists, he rather chose such a distinctive and thoughtful point of view, which is perfectly compatible with his shy and, even so, ambitious character. With contemplation and sensitivity, he went through that daily relation mentioned before between materials, walls, humans and effect of the accumulation of time and behavior.