Page 163 - Ahmed- Nawar

s service in Deversoir, which he describes them as they are
scattered like embers of a blazing fire that seemed to him like red
roses scattered by a storm in the woods.
The accurate calculations of light and shadow in Nawar's artworks
are related to his calculation of the directly proportional relation-
ship between the size of the shadows of people and the distance
between them and the burlap screen, which he was watching all
the time with his sniper rifle periscope to be able to hunt his targets
accurately, aware as an artist of the game of sun and shadow and
its impact on visuals using his artistic imagination to decipher the
camouflaging processes.

Napalm, ink drawing on wood, 61 ×61 cm, 1971

The bright strokes of light in his drawings are like the golden rays
of the sun that illuminate the sniper's helmet and the metal parts of
his weapon. The sharp contrast between the lights and shadows
reminds us of the bright sun that was shining on the high areas of
the Israeli position at the height of the Bar Lev Line, while its foot
appears as a black piece of complete darkness. The helmet and
the eyes under it as a part of the Israeli soldier's head is the image
that he saw while observing the entrances to the bitter lakes and
modified it, permeating the vocabulary of many of his drawings.
Observing the shadows of his enemies helped him in his ability to
visually form the shadow in his drawings until the shadow in his
artworks became an object that moves and forms all the time.
The luminous holes that disturb the density of the black mass-
es in Nawar's drawings are similar to the circular, triangular, and

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