Page 164 - Ahmed- Nawar
P. 164
Sniper, ink drawing on wood, 64,5 ×48 cm, 1970
which he saw in the barrels planted in the desert sands, which
he and his peers used to take refuge during the attack of avia-
tion, fearing that their usual shelters would be crushed above their
heads.
We will try to explore the effects of the war on Nawar's handling
of formation vocabulary. The sniper, Ahmed Nawar, novels were
one of my ways to understand his visual experience in the art of
drawing.
The Duality of Light and Shadow
The paths of light in Nawar's drawings resemble the penetrating
meteors as successive shots, which he draws through sharp white
lines that move through the space of the painting; it is the flaming
bullet with a fiery luster capable of penetration echoes back and
forth in the voids of his artworks. The triangles and white luminous
arrows that pass through the paths of his paintings, illuminating
the void like lightning caused by falling bombs or the light of the
half-inch hail of bullets that greeted him upon his arrival receiving
162
which he saw in the barrels planted in the desert sands, which
he and his peers used to take refuge during the attack of avia-
tion, fearing that their usual shelters would be crushed above their
heads.
We will try to explore the effects of the war on Nawar's handling
of formation vocabulary. The sniper, Ahmed Nawar, novels were
one of my ways to understand his visual experience in the art of
drawing.
The Duality of Light and Shadow
The paths of light in Nawar's drawings resemble the penetrating
meteors as successive shots, which he draws through sharp white
lines that move through the space of the painting; it is the flaming
bullet with a fiery luster capable of penetration echoes back and
forth in the voids of his artworks. The triangles and white luminous
arrows that pass through the paths of his paintings, illuminating
the void like lightning caused by falling bombs or the light of the
half-inch hail of bullets that greeted him upon his arrival receiving
162
