Page 161 - Ahmed- Nawar
P. 161
it shocks you and stops life with you and your surroundings irreversibly."
"The fiery clouds that result from firing their automatic rifles and machine guns to make an aerial
fire cover for air defense assistance, which often results in the enemy throwing its load at random;
it falls into the Suez Canal, the enemy's site, or the Egyptian site, where napalm and incendiary
bombs accompanied by the sounds of huge explosions are made… Then tanks, mortars, and
heavy artillery begin to whistle before they rain down on us like the stoning of demons, or the
shards of planets smashing into the earth… Artillery accompanies incendiary ground-to-ground
missiles and air-to-ground poisonous missiles. The poison-toothed nails that kill instantly if they
pierce the body, their teeth resemble fins with the rotating motion of the missile, heavy bloody joy
interspersed with the ditties of light weapons."
In his words, this atmosphere is what creates the fighter's senses that do not work for others. He
senses the flight of the mortar balls as it flies and determines its squadrons and targets through
raising its sudden voice as the sound of symphonic music rises. Thus he can direct the reaction
and determine the appropriate behavior, and perhaps these new senses are behind his incredible
survival in the face of enemy attacks with every target he succeeds in seizing. In the space of
Nawar's drawings, we can hear the sounds of bombs that penetrate the darkness of the night and
the depth of the desert, the sound of explosions, the hum of planes, the noise of unloading their
bombs, and the attempts of shapes to get out of the narrow holes, just like the attempts of soldier
Nawar to get out with his head from the hole of the narrow shelter, preferring to die with a stray
shrapnel than death by suffocation inside the shelter.
The Fission
The splintered blocks have a clear presence in Nawar's artwork. They may return him to the site
of the split channel, which the enemy on the other side has long hoped for, is waiting for the ap-
propriate moment to snipe a new target. The Egyptians are on one side and the Israeli enemy
on the other, and between them, there is a real line of fire separating the rightful owners from the
usurpers of the land, which in turn reminds him of Jerusalem divided in two, between the Arab
land and the Israeli land, in which he stopped on one of its streets during his scouting trip in 1966
in the middle of an extended street, forbidden to complete it at some point by an Israeli order. How
surprised he was by the idea of splitting and did not leave his mind and his perceptions about the
idea of the eternal conflict between two combatant parties.
There is always in Nawar's artworks a center of a conflict that includes two splintered blocks
facing each other. The collection of "Jabal Abu Ghneim" is a clear example of this. In 1989, the
artist watched through the visual media the brutal attack by the Zionists on Abu Ghneim Moun-
tain in Jerusalem, and the destruction of homes and the uprooting of olive and fruit trees, agri-
cultural land, and people's homes with unprecedented brutality in order to let the enemy builds
his settlements. The brutal attack provoked the spirit of the warrior who did not leave his rifle.
He painted thirty-three paintings at the rate of a painting every day. In exchange for the fierce
attacking machines, Nawar draws the lights of Jabal Abu Ghneim, and it has turned into dynamic
and vibrant energy and confronts the Zionist machine of destruction until the plants turned into
defense energy in the face of the brutal demon of war. In front of the dredgers and bulldozers of
the Zionists besieging Abu Ghunaim, uprooting life, Nawar draws the mountain lights, and the
spirit was engulfed in him, so he moved to defend the homeland and grew for him leaves resem-
bling the heads of projectiles; he turned into a roaring waterfall, rose to stand in the face of evil.
Nawar's dramatic performance in black and white humanizes the mountain and turns bulldozers
into ugly, animated, slaying monsters. Nawar was making his patriotic position and presenting a
sharp message to the conscience of the world that he might wake up.
These mass fissures are also found in the collection of "The War and the Mask" 2017, 2018, in
159
"The fiery clouds that result from firing their automatic rifles and machine guns to make an aerial
fire cover for air defense assistance, which often results in the enemy throwing its load at random;
it falls into the Suez Canal, the enemy's site, or the Egyptian site, where napalm and incendiary
bombs accompanied by the sounds of huge explosions are made… Then tanks, mortars, and
heavy artillery begin to whistle before they rain down on us like the stoning of demons, or the
shards of planets smashing into the earth… Artillery accompanies incendiary ground-to-ground
missiles and air-to-ground poisonous missiles. The poison-toothed nails that kill instantly if they
pierce the body, their teeth resemble fins with the rotating motion of the missile, heavy bloody joy
interspersed with the ditties of light weapons."
In his words, this atmosphere is what creates the fighter's senses that do not work for others. He
senses the flight of the mortar balls as it flies and determines its squadrons and targets through
raising its sudden voice as the sound of symphonic music rises. Thus he can direct the reaction
and determine the appropriate behavior, and perhaps these new senses are behind his incredible
survival in the face of enemy attacks with every target he succeeds in seizing. In the space of
Nawar's drawings, we can hear the sounds of bombs that penetrate the darkness of the night and
the depth of the desert, the sound of explosions, the hum of planes, the noise of unloading their
bombs, and the attempts of shapes to get out of the narrow holes, just like the attempts of soldier
Nawar to get out with his head from the hole of the narrow shelter, preferring to die with a stray
shrapnel than death by suffocation inside the shelter.
The Fission
The splintered blocks have a clear presence in Nawar's artwork. They may return him to the site
of the split channel, which the enemy on the other side has long hoped for, is waiting for the ap-
propriate moment to snipe a new target. The Egyptians are on one side and the Israeli enemy
on the other, and between them, there is a real line of fire separating the rightful owners from the
usurpers of the land, which in turn reminds him of Jerusalem divided in two, between the Arab
land and the Israeli land, in which he stopped on one of its streets during his scouting trip in 1966
in the middle of an extended street, forbidden to complete it at some point by an Israeli order. How
surprised he was by the idea of splitting and did not leave his mind and his perceptions about the
idea of the eternal conflict between two combatant parties.
There is always in Nawar's artworks a center of a conflict that includes two splintered blocks
facing each other. The collection of "Jabal Abu Ghneim" is a clear example of this. In 1989, the
artist watched through the visual media the brutal attack by the Zionists on Abu Ghneim Moun-
tain in Jerusalem, and the destruction of homes and the uprooting of olive and fruit trees, agri-
cultural land, and people's homes with unprecedented brutality in order to let the enemy builds
his settlements. The brutal attack provoked the spirit of the warrior who did not leave his rifle.
He painted thirty-three paintings at the rate of a painting every day. In exchange for the fierce
attacking machines, Nawar draws the lights of Jabal Abu Ghneim, and it has turned into dynamic
and vibrant energy and confronts the Zionist machine of destruction until the plants turned into
defense energy in the face of the brutal demon of war. In front of the dredgers and bulldozers of
the Zionists besieging Abu Ghunaim, uprooting life, Nawar draws the mountain lights, and the
spirit was engulfed in him, so he moved to defend the homeland and grew for him leaves resem-
bling the heads of projectiles; he turned into a roaring waterfall, rose to stand in the face of evil.
Nawar's dramatic performance in black and white humanizes the mountain and turns bulldozers
into ugly, animated, slaying monsters. Nawar was making his patriotic position and presenting a
sharp message to the conscience of the world that he might wake up.
These mass fissures are also found in the collection of "The War and the Mask" 2017, 2018, in
159
