Page 162 - Ahmed- Nawar
P. 162
scent-shaped holes from which he used to see the East Bank, and also resemble the holes
that the Israelis placed in barrels and plates through which their soldiers and snipers can look
at the Egyptian sites. Nawar deciphered its code and was waiting for its darkening moments to
indicate the passing of one of the enemy soldiers, so he sniped him to fall to the ground, and the
blackness removed from the nozzle and whitened the face of the barrel as he was telling about
his experience as a sniper, and perhaps the luminous gaps in his artworks were a parallel symbol
of the fall of the enemy.
The Sharp Lines and Angles
The sharp, tense lines in Nawar's drawings are reminiscent of the barbed wire that surrounds the
site of the forehead, and the recurring fine square strips in his compositions are reminiscent of the
piece of burlap he used to block the barrel of his rifle to conceal the barrel hole that the sun might
penetrate and reveal his location to his enemy. He sees the light through the fine squares of the
burlap fabric; he was also watching the sun's relationship with the enemy's sackcloth. His lines
may be analogous with the sharp lines by which the trajectory of the shot, the target's movement
line, and the extension of its shadow are calculated. Nawar mastered the exploitation of the pic-
torial characteristics of lines, and they had an important role in Nawar's artworks. The diminishing
of the lines' weight and degree of color until they fade during their path is leading to the penetra-
tion of space within the picture in many directions. The lighter the lines and the more distant and
faster the silhouette degree movement, the more the relative weight and degree of the lines are
determined according to the specific location suggested by the artist, whether in the foreground
of the picture or its late occupation.
The lengths of the lines, the angles of their direction, and their relationship to the sides of the
artwork also contribute to the space they create; the straight lines and points lead to the creation
of certain empty spaces. The strong sense of the movement of curved lines that penetrate the
spaces works to collect and penetrate the void at different speeds. Despite that and with this
abundance of emptiness, the lines and points are by themselves a dimensional character that has
a vibrant presence in these artworks.
We also note the spread of acute angles in Nawar's artworks and vocabulary analysis through
superimposed segments and different side angles, where the drawing of shapes is not limited to
one facing angle. Perhaps we find an explanation for this in his account of his monitoring of the
Israeli website, where he states: the direct vision from the confrontation did not allow him to see
the enemy's fortresses, so he monitored the site from afar and from sharp angles with a periscope
to discover side segments through which he could penetrate the site and see other sides that the
confrontational vision did not show, so he had a more comprehensive vision of the void and the
location of the targets he wanted to shoot.
The Front Music
Let us consider one of Nawar narrations in his book "Hawk's Eye", which may justify this sym-
phonic character in the composition of his artworks:
Nawar .. Hawk's Eye
"Sudden hitting as a reaction focused on one point with the greatest variety of weapons, in con-
trast to the lasting beating that resembles the perpetual flow of water in a river characterized by
the specialization of weapons, where light weapons are rushed, and through which, now and
then, the beats of a mortar drop to play the rhythmic role played by the drum in music... Its rhythm
is a deadly rhythm like a sudden fate descending from the sky… It rises from the barrel of a can-
non to draw a long-distance arc descends abruptly to receive the bomb site, an inevitable doom,
160
that the Israelis placed in barrels and plates through which their soldiers and snipers can look
at the Egyptian sites. Nawar deciphered its code and was waiting for its darkening moments to
indicate the passing of one of the enemy soldiers, so he sniped him to fall to the ground, and the
blackness removed from the nozzle and whitened the face of the barrel as he was telling about
his experience as a sniper, and perhaps the luminous gaps in his artworks were a parallel symbol
of the fall of the enemy.
The Sharp Lines and Angles
The sharp, tense lines in Nawar's drawings are reminiscent of the barbed wire that surrounds the
site of the forehead, and the recurring fine square strips in his compositions are reminiscent of the
piece of burlap he used to block the barrel of his rifle to conceal the barrel hole that the sun might
penetrate and reveal his location to his enemy. He sees the light through the fine squares of the
burlap fabric; he was also watching the sun's relationship with the enemy's sackcloth. His lines
may be analogous with the sharp lines by which the trajectory of the shot, the target's movement
line, and the extension of its shadow are calculated. Nawar mastered the exploitation of the pic-
torial characteristics of lines, and they had an important role in Nawar's artworks. The diminishing
of the lines' weight and degree of color until they fade during their path is leading to the penetra-
tion of space within the picture in many directions. The lighter the lines and the more distant and
faster the silhouette degree movement, the more the relative weight and degree of the lines are
determined according to the specific location suggested by the artist, whether in the foreground
of the picture or its late occupation.
The lengths of the lines, the angles of their direction, and their relationship to the sides of the
artwork also contribute to the space they create; the straight lines and points lead to the creation
of certain empty spaces. The strong sense of the movement of curved lines that penetrate the
spaces works to collect and penetrate the void at different speeds. Despite that and with this
abundance of emptiness, the lines and points are by themselves a dimensional character that has
a vibrant presence in these artworks.
We also note the spread of acute angles in Nawar's artworks and vocabulary analysis through
superimposed segments and different side angles, where the drawing of shapes is not limited to
one facing angle. Perhaps we find an explanation for this in his account of his monitoring of the
Israeli website, where he states: the direct vision from the confrontation did not allow him to see
the enemy's fortresses, so he monitored the site from afar and from sharp angles with a periscope
to discover side segments through which he could penetrate the site and see other sides that the
confrontational vision did not show, so he had a more comprehensive vision of the void and the
location of the targets he wanted to shoot.
The Front Music
Let us consider one of Nawar narrations in his book "Hawk's Eye", which may justify this sym-
phonic character in the composition of his artworks:
Nawar .. Hawk's Eye
"Sudden hitting as a reaction focused on one point with the greatest variety of weapons, in con-
trast to the lasting beating that resembles the perpetual flow of water in a river characterized by
the specialization of weapons, where light weapons are rushed, and through which, now and
then, the beats of a mortar drop to play the rhythmic role played by the drum in music... Its rhythm
is a deadly rhythm like a sudden fate descending from the sky… It rises from the barrel of a can-
non to draw a long-distance arc descends abruptly to receive the bomb site, an inevitable doom,
160
