Page 153 - Ahmed- Nawar
P. 153
t is fundamental. He opts for a chosen composition for his scenes in clear selection for their
essence. Those scenes go through a revealing sentiment that unveils their secrets. He expresses
all the colors of nature with tones of black and white colors moving between shadow networks,
dark spaces, and a structure of lines taking their ideal positions in the form. The performance
transforms all the color shades into different shades of black. The artist can intensify his sensitivity
sometimes and reduce it at other times to create a world in which all forms blend and dissolve in
the black color so he can approach the light pulses behind the colors of nature.
As a proficient painter, Nawar realizes the value of the power of lines and their ability to boldly
penetrate the areas of shadows, and gently pass through the light areas. He adapts the unre-
strained power of light to become a will of light that blurs and erases whatever it wants and es-
tablishes a composition that conveys to the eye only what deserves to be seen. He rearranges
the scene according to his aesthetic sense and informed vision. He does not only draw this scene
but also alters the visual interpretation of what he sees, so he does not present a depiction of the
scene- with all its dissonance and spontaneity as usually perceived by the senses - but rather re-
lies on an intuition that begins with the visual experience to extract from it the distinctive features
of things and creatures, abstracting them to their pure features through lines and spaces of lights
and shadows, going beyond the absurdity and chaos of direct forms, and simulating the move-
ment of nature and its systems in formation, growth, and order, so the result is that pure vision of
the scene.
The artist also overcomes those successive, changing states of the external world, as he makes
us abandon the scene’s exact details and components that would hinder the easy interpretation,
so we can understand a special state of the scene away from its accidental, scattered states. It is
not limited only to a set of relationships or forms, as there is a clear emotional tone in the artworks,
the emotion of the essence extending in our souls and lying behind the temporary, changing emo-
tions of man.
The artist’s creative vision modifies the inputs of the surrounding external world and takes them
to his own memory, where the raw scene is mixed with the imagination that Nawar possesses as
a creative artist to transform the scene, taking it out of the memory to the artwork.
The light appears in Nawar's artworks as a luminous waterfall that overflows and reshapes the
vocabulary of the place with the knowledge that preserves what is essential and fundamental to
maintain the cohesion of the composition and achieve the luminous state filling the place from
another source. The light in Nawar's work should be described as illumination because the term
light is a material term related to known and specific sources but the light in his Hijaz scenes is a
spiritual one emanating from an unknown source. It is emitted by an immaterial unknown source,
illuminating the scene according to his vision. His scenes thus take us to the boundaries of the
soul, as they remove the unnecessary details of the material world to create another world, where
the geography of the place combines with the geography of the soul.
On contemplating some vocabulary in the Hijaz scenes, our attention is drawn to the artist's por-
trayal of the mountains and craters of volcanoes as huge sculptures over which light and shadow
move in a way as if they were just sculptured. However, in other artworks, the artist inclines more
to the flattening technique, turning some ship scenes of the Hijaz drawings into silhouette struc-
tures and spaces that combine with the linear structures shaping the rest of the scene. In these
works, it is obvious that the artist enjoys evoking the music of lines, whose "thickness" and fea-
tures grade to form free spaces, especially in the white background areas that give the movement
of lines higher energy. The shadow areas become medium leveled as paths leading us to realize
the most important relationship between the completely dark shadow areas and the lines creating
a network of black-and-white musical rhythms, where the eye enjoys different tonal transitions
151
essence. Those scenes go through a revealing sentiment that unveils their secrets. He expresses
all the colors of nature with tones of black and white colors moving between shadow networks,
dark spaces, and a structure of lines taking their ideal positions in the form. The performance
transforms all the color shades into different shades of black. The artist can intensify his sensitivity
sometimes and reduce it at other times to create a world in which all forms blend and dissolve in
the black color so he can approach the light pulses behind the colors of nature.
As a proficient painter, Nawar realizes the value of the power of lines and their ability to boldly
penetrate the areas of shadows, and gently pass through the light areas. He adapts the unre-
strained power of light to become a will of light that blurs and erases whatever it wants and es-
tablishes a composition that conveys to the eye only what deserves to be seen. He rearranges
the scene according to his aesthetic sense and informed vision. He does not only draw this scene
but also alters the visual interpretation of what he sees, so he does not present a depiction of the
scene- with all its dissonance and spontaneity as usually perceived by the senses - but rather re-
lies on an intuition that begins with the visual experience to extract from it the distinctive features
of things and creatures, abstracting them to their pure features through lines and spaces of lights
and shadows, going beyond the absurdity and chaos of direct forms, and simulating the move-
ment of nature and its systems in formation, growth, and order, so the result is that pure vision of
the scene.
The artist also overcomes those successive, changing states of the external world, as he makes
us abandon the scene’s exact details and components that would hinder the easy interpretation,
so we can understand a special state of the scene away from its accidental, scattered states. It is
not limited only to a set of relationships or forms, as there is a clear emotional tone in the artworks,
the emotion of the essence extending in our souls and lying behind the temporary, changing emo-
tions of man.
The artist’s creative vision modifies the inputs of the surrounding external world and takes them
to his own memory, where the raw scene is mixed with the imagination that Nawar possesses as
a creative artist to transform the scene, taking it out of the memory to the artwork.
The light appears in Nawar's artworks as a luminous waterfall that overflows and reshapes the
vocabulary of the place with the knowledge that preserves what is essential and fundamental to
maintain the cohesion of the composition and achieve the luminous state filling the place from
another source. The light in Nawar's work should be described as illumination because the term
light is a material term related to known and specific sources but the light in his Hijaz scenes is a
spiritual one emanating from an unknown source. It is emitted by an immaterial unknown source,
illuminating the scene according to his vision. His scenes thus take us to the boundaries of the
soul, as they remove the unnecessary details of the material world to create another world, where
the geography of the place combines with the geography of the soul.
On contemplating some vocabulary in the Hijaz scenes, our attention is drawn to the artist's por-
trayal of the mountains and craters of volcanoes as huge sculptures over which light and shadow
move in a way as if they were just sculptured. However, in other artworks, the artist inclines more
to the flattening technique, turning some ship scenes of the Hijaz drawings into silhouette struc-
tures and spaces that combine with the linear structures shaping the rest of the scene. In these
works, it is obvious that the artist enjoys evoking the music of lines, whose "thickness" and fea-
tures grade to form free spaces, especially in the white background areas that give the movement
of lines higher energy. The shadow areas become medium leveled as paths leading us to realize
the most important relationship between the completely dark shadow areas and the lines creating
a network of black-and-white musical rhythms, where the eye enjoys different tonal transitions
151
