In tribute to El-Nacharís Masterpiece, The Eighth Epic, entitled "The Integrality of time & place", we Zamalek Art Gallery used a new, experimental way to present the work to the public. Enlarged sections of the original work function as a dictionary, or a decoder-so to speak- of its vocabulary: a key to unraveling its complex visual, conceptual and artistic composition. Twenty eight sections were selected from the expressionistic, figurative drawings arrayed across the boxlike structures that form the paintingís angular surface, none of them larger than 7x10 centimeters. These small sections have been photographed, then enlarged (in some cases to more than 1mx1.5m in size), printed on vinyl, and finally mounted on MDF board.
These vibrant images solve many of these spiritual riddles of Al-Nasharís work that are not immediately apparent on a first viewing. Thus, the viewer is able to see the roots of the artist's artistic vision, to enter into the artistís world and understand what lies behind the surface detail.
Introduction by Artist Zeinab Al Sageny
Following El-Nacharís unexpected death it took me a long time before I was able to regain my composure. My sole concern during this period was to complete the museum El Nachar had started working on, before his death.
Overwhelmed with preparations for the museum I was unable to visit the storehouse where El-Nachar kept his tools and materials. More than two years after the museum opened I received a call from the artist Ahmed Abd Al-Karim who was taking care of the storehouse. He told me that heís come across a large work made up of nine individual canvases and I assumed at first that they must be one of his old epic sequences that had been exhibited many times before. To my surprise it turned out to be an entirely new work, which he had completed in the summer of 1997 at his studio in Abu Youssef, Agami. An overwhelming surprise left for us few years after his demise. In fact it was intended to be the centerpiece of an exhibition, he was preparing for in the year 2000.
Here, in this exhibition, on the occasion of El-Nacharís seventy-third birthday, I offer this work to bear witness to his spontaneity, his purity, his determination to follow his own path, his profundity of vision and his ability to express himself with an open heart running over with love and affection.
Introduction by Artist Farghali Abd Al-Hafiz
In December 2001 the Zamalek Art Gallery held a pioneering exhibition showcasing the powerful expressive force of Abdel Rahman El-Nacharís early works. Presenting a large collection of El-Nacharís freer pieces, the exhibition showed us another side of the artist, entirely at odds with the precise compositional schemes of his regular work. In its current exhibition, Zamalek Art Gallery has taken an entirely new and unprecedented step: displaying one of El-Nacharís later works in which he returned to these compositional schemes.
The exhibition confronts us with a new form of artistic activity, a unique and potent event, an entirely original perspective and interaction with works of Art. In this exhibition you are invited to take a plunge into the worlds and imaginations that the artist Abdel Rahman El-Nachar has portrayed so freely and spontaneously within his rigorous composition. We are used to approaching any work of art first through an appreciation of its "Gestalt" (essence) before moving onto the finer details. In this way we seek to understand narrative and technical techniques that inform the work. Yet in this exhibition you encounter not one, but a series of complete works within a single piece: Precise mathematical composition sits side by side with expressionism; a formal, highly engineered piece contains a multitude of mythical works bursting with symbols, signs and significance. El-Nachar the"meticulous' meets El-Nachar the "spontaneous, the explosive". Once more we are confronted with El-Nacharís charisma, an imminent an force we learn more about with every passing day.