Page 165 - Ahmed- Nawar
P. 165
Statue of Will, and The Statue of Challenge", and his installation works "Palestine 52, and 54
Years of Occupation" as well as his films "Transit, Conflicts and Dreams, and Palestine".
The memory of the war has not left Nawar until now; It made him see in every night scene the
black mass of the Diversoir site and every waterway of the Suez Canal; it made all the events
of the war a cinematic tape in a continuous presentation that does not stop from his memory, a
picture and a sound, as Nawar retained the fighter's sense of distinguishing sounds and even
receiving them at the moment of their issuance resonant from their source. It is the superior audi-
tory sense that he acquired from anticipating air raids, the sounds of bombs and buzzing bullets,
and the development in the degrees, intensity, and resolution of the sound, like the sound of a
cannonball, since it came out of the cannon barrel and penetrated the air, approaching until it fell
to the ground. The sounds of an ordinary life turned into a frenzy of dread and the night became
a breeding ground for dark nightmares. The fear that he suppressed and prevented himself from
surrendering to it during his conscription turned into a pathological condition and a constant feel-
ing of chasing death. It is the consequences of the war that did not leave Nawar for many years.
Telling the story of the war in Nawar's life was not intended to introduce him as a skillful killer and
sniper who disturbed his enemies sleep and his commanders witnessed his courage and superi-
ority, but rather to present the impact of war life on his experience as an artist, and this is what we
will direct some discretionary references to.
Between the Memory of the War and the Memory of the Painting
The war put Nawar in its own field with new concepts of death and life and planted in his memory
new forms that were associated with every place he lived and every angle he observed meticu-
lously and with every detail in his weapon. The telescope of the rifle was the magic crystal through
which he sees the world. The sniper rifle taught him its complex calculations and taught him the
precise organization: distance, focus, direction, wind calculation, target movement calculation,
adjusting the axis of a telescope with the axis of the rifle barrel, accuracy of the weapon's disci-
pline in the center of the target, speed of decision-making, and readiness after sharp visual train-
ing that requires accurate monitoring of the enemy's location, and deciphering its ever-changing
and ever-evolving camouflage codes.
These attitudes affected the control of the vocabulary of his artwork; Forms are precisely defined
blocks for him, but they flow from the inside like an emotion that is fenced off by the mind. As a
sniper, he had to control his feelings and open his mind interest to one target only, even if the
place around him was ignited with bombardments, explosions, cannonballs, and tongues of fire:
that is, the power that this action requires!
We find a common feature in many of Nawar's artworks related to the themes of war and conflict
in which the composition takes the form of a central block within which the vocabulary of work
and its relationships operate, just as he was seeing things through the telescope of his rifle. The
condition of the sniper requires that he fix his eye at the point of intersection of the "cross". He
defines his target in the painting as he was setting his target in the front, a central focus around
which the relations of the form are organized and rose.
The bunkers, mines, earth mounds, pits, reconnaissance points above the trees, and the black
blocks of the Israeli site were transformed into formative structures charged with energy in his
artworks. We found dredgers and bulldozers in Jabal Abu Ghneim collection, and parts of them
have been repeated in many other artworks. The broken horizon line in his artworks reminds us of
piles of wood, waste, dumped nets, and solid waste that the enemy used to hide and camouflage.
Circles, semi-circles, and arcs are spread in many of his drawings. They are the circles that he
used to see in the telescope tube, in the lens and nozzle of the rifle barrel, and in the cross circle,
163
Years of Occupation" as well as his films "Transit, Conflicts and Dreams, and Palestine".
The memory of the war has not left Nawar until now; It made him see in every night scene the
black mass of the Diversoir site and every waterway of the Suez Canal; it made all the events
of the war a cinematic tape in a continuous presentation that does not stop from his memory, a
picture and a sound, as Nawar retained the fighter's sense of distinguishing sounds and even
receiving them at the moment of their issuance resonant from their source. It is the superior audi-
tory sense that he acquired from anticipating air raids, the sounds of bombs and buzzing bullets,
and the development in the degrees, intensity, and resolution of the sound, like the sound of a
cannonball, since it came out of the cannon barrel and penetrated the air, approaching until it fell
to the ground. The sounds of an ordinary life turned into a frenzy of dread and the night became
a breeding ground for dark nightmares. The fear that he suppressed and prevented himself from
surrendering to it during his conscription turned into a pathological condition and a constant feel-
ing of chasing death. It is the consequences of the war that did not leave Nawar for many years.
Telling the story of the war in Nawar's life was not intended to introduce him as a skillful killer and
sniper who disturbed his enemies sleep and his commanders witnessed his courage and superi-
ority, but rather to present the impact of war life on his experience as an artist, and this is what we
will direct some discretionary references to.
Between the Memory of the War and the Memory of the Painting
The war put Nawar in its own field with new concepts of death and life and planted in his memory
new forms that were associated with every place he lived and every angle he observed meticu-
lously and with every detail in his weapon. The telescope of the rifle was the magic crystal through
which he sees the world. The sniper rifle taught him its complex calculations and taught him the
precise organization: distance, focus, direction, wind calculation, target movement calculation,
adjusting the axis of a telescope with the axis of the rifle barrel, accuracy of the weapon's disci-
pline in the center of the target, speed of decision-making, and readiness after sharp visual train-
ing that requires accurate monitoring of the enemy's location, and deciphering its ever-changing
and ever-evolving camouflage codes.
These attitudes affected the control of the vocabulary of his artwork; Forms are precisely defined
blocks for him, but they flow from the inside like an emotion that is fenced off by the mind. As a
sniper, he had to control his feelings and open his mind interest to one target only, even if the
place around him was ignited with bombardments, explosions, cannonballs, and tongues of fire:
that is, the power that this action requires!
We find a common feature in many of Nawar's artworks related to the themes of war and conflict
in which the composition takes the form of a central block within which the vocabulary of work
and its relationships operate, just as he was seeing things through the telescope of his rifle. The
condition of the sniper requires that he fix his eye at the point of intersection of the "cross". He
defines his target in the painting as he was setting his target in the front, a central focus around
which the relations of the form are organized and rose.
The bunkers, mines, earth mounds, pits, reconnaissance points above the trees, and the black
blocks of the Israeli site were transformed into formative structures charged with energy in his
artworks. We found dredgers and bulldozers in Jabal Abu Ghneim collection, and parts of them
have been repeated in many other artworks. The broken horizon line in his artworks reminds us of
piles of wood, waste, dumped nets, and solid waste that the enemy used to hide and camouflage.
Circles, semi-circles, and arcs are spread in many of his drawings. They are the circles that he
used to see in the telescope tube, in the lens and nozzle of the rifle barrel, and in the cross circle,
163
