Page 149 - Ahmed- Nawar
P. 149
Holy Land, felt-tip pens on paper, 37 × 26 cm, 2015 :2016
heavens. Thus, man lives in the heart of nature, hearing its eternal voices and calls, regaining
his connection with it, and integrating with its spirit, which it spreads to all creatures. Here, we
remember the saying of Wucius Wong, in which he expressed that when the artist depicts a land-
scape, he does not want it only to be seen, but he aims to urge the viewer to embark on a spiritual
journey, as the purpose of the painting is not to see the painting but to read it.
Nawar presents flawless scenes, as he invites the viewer to enter into paintings and move through
their paths. Every time the viewer sees the painting, the viewer starts a new journey to discover
the place and its spiritual connections. As mentioned before, there is a lot to say about the tech-
nical aspect of Nawar’s experience and his great skills. However, another more important aspect
must be highlighted. Despite the apparent realism of the depicted scene, his skills have been
associated with an abstract approach. He tries to free the scene from excess physical details
to limit it to its pure features and show the physical world briefly instead of its realistic form. He
exerts a parallel creative effort to link himself in all respects with what he paints until he reaches
its essence.
Nawar captures from the realistic scene what he sees worthy of depiction in his works and rear-
rangement of the composition, which is mainly based on preserving the essence of things away
from the accidental changes. He removes everything that would hinder our connection with the
place when presenting it to us according to his vision as if it were introduced to us for the first time.
In the end, we can say that the extended shores of abstraction bring us to those scenes that we
cannot see directly in nature, but only when the artist picks them mindfully, showering them with a
special kind of charm that delivers a state of joy and pleasure when contemplating a scene amid
the area lying between the geography of the place and the geography of the soul.
147
heavens. Thus, man lives in the heart of nature, hearing its eternal voices and calls, regaining
his connection with it, and integrating with its spirit, which it spreads to all creatures. Here, we
remember the saying of Wucius Wong, in which he expressed that when the artist depicts a land-
scape, he does not want it only to be seen, but he aims to urge the viewer to embark on a spiritual
journey, as the purpose of the painting is not to see the painting but to read it.
Nawar presents flawless scenes, as he invites the viewer to enter into paintings and move through
their paths. Every time the viewer sees the painting, the viewer starts a new journey to discover
the place and its spiritual connections. As mentioned before, there is a lot to say about the tech-
nical aspect of Nawar’s experience and his great skills. However, another more important aspect
must be highlighted. Despite the apparent realism of the depicted scene, his skills have been
associated with an abstract approach. He tries to free the scene from excess physical details
to limit it to its pure features and show the physical world briefly instead of its realistic form. He
exerts a parallel creative effort to link himself in all respects with what he paints until he reaches
its essence.
Nawar captures from the realistic scene what he sees worthy of depiction in his works and rear-
rangement of the composition, which is mainly based on preserving the essence of things away
from the accidental changes. He removes everything that would hinder our connection with the
place when presenting it to us according to his vision as if it were introduced to us for the first time.
In the end, we can say that the extended shores of abstraction bring us to those scenes that we
cannot see directly in nature, but only when the artist picks them mindfully, showering them with a
special kind of charm that delivers a state of joy and pleasure when contemplating a scene amid
the area lying between the geography of the place and the geography of the soul.
147
