Page 148 - Ahmed- Nawar
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The previous references, through which some milestones in
Nawar’s career are discussed, are an attempt to understand and
get closer to the boundaries of an extensive experience that can-
not be covered satisfactorily in haste, even when it is somehow
long. However, some general features in the career of Nawar the
painter, whom I consider one of the artists who respect the idea of
professional artisanship because the artist’s hands are tied with-
out it, no matter how his ideas are brilliant. Surprisingly, in most
of his drawings, Nawar uses a simple tool, the felt-tip pens, with
which he builds a world full of visual elements; he is capable of
translating the degrees of light and shadow with great sensitivity,
relying on shadow networks with a porous, vibrant texture that del-
icately conveys the gradations of light and shadow over the drawn
elements, away from the resulting direct solid black color when tra-
ditionally using this medium. He makes special use of the medium
when he takes advantage of the black felt-tip pen that is about to
run out of ink to provide a medium tone of shadows that is difficult
to get except in this case.
The artist skillfully managed his drawing tool, so we do not feel
the interruption or sudden end of spaces, in addition to using the
complete opacity of the medium in drawing the dark shadow ar-
eas or the network of crisscrossing lines and shapes. In contrast,
the moving light diffuses to become wide areas balancing with the
structures and brings the maps of light into the place as a value
covering the vocabulary and gently infiltrating between the begin-
nings and ends of the drawn elements to blur the features of some
structures, transforming them from their material state to another
immaterial one in which they abandon their earthly, physical con-
nection and turned into the luminous ether that suits the nature of
the drawn subject.
Nawar's works clearly show the relationship between the pleasure
of enjoying the highly skilled technical execution and the search
for inner rhythms that achieve harmony in the artwork, which in
turn reveals the harmony of the soul and the essence and gentle
movement of truth.
His works remind us of what was called “the six principles” in an-
cient Chinese art, which discussed the necessity of “searching for
the mind amid scattering and overlapping”, having energy in the
hand and certainty in execution, and the importance of expressing
the rhythm of the soul in things to achieve a harmonious move-
ment through a combination of the artist's personality and hand
within a single preliminary system based on the proper division of
the canvas and the representation of the precision of forms without
any elaboration of details.
146
The previous references, through which some milestones in
Nawar’s career are discussed, are an attempt to understand and
get closer to the boundaries of an extensive experience that can-
not be covered satisfactorily in haste, even when it is somehow
long. However, some general features in the career of Nawar the
painter, whom I consider one of the artists who respect the idea of
professional artisanship because the artist’s hands are tied with-
out it, no matter how his ideas are brilliant. Surprisingly, in most
of his drawings, Nawar uses a simple tool, the felt-tip pens, with
which he builds a world full of visual elements; he is capable of
translating the degrees of light and shadow with great sensitivity,
relying on shadow networks with a porous, vibrant texture that del-
icately conveys the gradations of light and shadow over the drawn
elements, away from the resulting direct solid black color when tra-
ditionally using this medium. He makes special use of the medium
when he takes advantage of the black felt-tip pen that is about to
run out of ink to provide a medium tone of shadows that is difficult
to get except in this case.
The artist skillfully managed his drawing tool, so we do not feel
the interruption or sudden end of spaces, in addition to using the
complete opacity of the medium in drawing the dark shadow ar-
eas or the network of crisscrossing lines and shapes. In contrast,
the moving light diffuses to become wide areas balancing with the
structures and brings the maps of light into the place as a value
covering the vocabulary and gently infiltrating between the begin-
nings and ends of the drawn elements to blur the features of some
structures, transforming them from their material state to another
immaterial one in which they abandon their earthly, physical con-
nection and turned into the luminous ether that suits the nature of
the drawn subject.
Nawar's works clearly show the relationship between the pleasure
of enjoying the highly skilled technical execution and the search
for inner rhythms that achieve harmony in the artwork, which in
turn reveals the harmony of the soul and the essence and gentle
movement of truth.
His works remind us of what was called “the six principles” in an-
cient Chinese art, which discussed the necessity of “searching for
the mind amid scattering and overlapping”, having energy in the
hand and certainty in execution, and the importance of expressing
the rhythm of the soul in things to achieve a harmonious move-
ment through a combination of the artist's personality and hand
within a single preliminary system based on the proper division of
the canvas and the representation of the precision of forms without
any elaboration of details.
146
