Page 172 - Ahmed Fouad Selim
P. 172
izontal rectangular areas and in the artworks of the last ten years of his life or
so, fauvism fountains were exploded to appear in the previous artworks to become
rebellious, overthrowing violently the traditional bases. Collage pasting layers of
organza, gauze and embroidery were overlapped, so that paintings are revealed in
reliefs, and the combined color layers overlap with spotted, and engraved with the
wrinkled with the pasted and pointed over a smoky background from afar with the
splashes of Jackson Pollock who was saying: "I do not depict nature, I'm the nature, I
care for the rhythm of nature, and I work from the inside to the outside just like it do."
At this point, Selim fulfills Sorel's dream through dying of the style which he called
the dance of death as quoted by the American philosopher Herbert Marcus that every
radical practice involves cultural destruction.
Selim achieved what the radical musical composer John Cage (3) sought to, in the
search for chaotic aesthetic, and creative surprise and futility by which Cage targeted
who tastes arts to be qualified to the new language of art which is unprecedented and
futuristic. Even in this chaotic phase, Selim was obsessed with framing, and putting
hamza on letters and pauses on sentences; he adds shapes like amulets, symbolic
representation such as the heart, the exponent, Horus, and the amoebic forms that
settle on the top of the painting or stick to one of its sides. These symbols are executed
by Selim from toile stuffed as a kind of soft sculpture and painted with layers of cold
ceramic liquid and then in silver or gold and sometimes with signs such as the eye
or wound in color.
In addition to his research in painting and collage, Selim turned to the three-
dimensional composite artwork, as mentioned above, using blocks impregnated
with colors and pieces of broken or
burned musical instruments in expressive
collision compositions.
In this new stage of artist Ahmed Oil on toile - 100 x 100 cm - 1982.
Fouad Selim artworks there is abstract
deconstructive lyrical collision
characteristic; from a philosophical
point of view, he sought the tripartite
relationship of the single essence
between the soul, body and self. In these
artworks, he foresaw his biological end
as he suffered from a terminal illness,
followed by the unfair and focused attack.
These offensive campaigns succeeded in
depriving him from his haven where he
glowed and ignited the spark of vitality
(3) John Cage: An avant-garde composer who worked with Marcel de Champs and Mirs Contham,
contemporary American modern dance creator in theatrical works. He used atypical media and sound effects
in his musical manifestations.
170
so, fauvism fountains were exploded to appear in the previous artworks to become
rebellious, overthrowing violently the traditional bases. Collage pasting layers of
organza, gauze and embroidery were overlapped, so that paintings are revealed in
reliefs, and the combined color layers overlap with spotted, and engraved with the
wrinkled with the pasted and pointed over a smoky background from afar with the
splashes of Jackson Pollock who was saying: "I do not depict nature, I'm the nature, I
care for the rhythm of nature, and I work from the inside to the outside just like it do."
At this point, Selim fulfills Sorel's dream through dying of the style which he called
the dance of death as quoted by the American philosopher Herbert Marcus that every
radical practice involves cultural destruction.
Selim achieved what the radical musical composer John Cage (3) sought to, in the
search for chaotic aesthetic, and creative surprise and futility by which Cage targeted
who tastes arts to be qualified to the new language of art which is unprecedented and
futuristic. Even in this chaotic phase, Selim was obsessed with framing, and putting
hamza on letters and pauses on sentences; he adds shapes like amulets, symbolic
representation such as the heart, the exponent, Horus, and the amoebic forms that
settle on the top of the painting or stick to one of its sides. These symbols are executed
by Selim from toile stuffed as a kind of soft sculpture and painted with layers of cold
ceramic liquid and then in silver or gold and sometimes with signs such as the eye
or wound in color.
In addition to his research in painting and collage, Selim turned to the three-
dimensional composite artwork, as mentioned above, using blocks impregnated
with colors and pieces of broken or
burned musical instruments in expressive
collision compositions.
In this new stage of artist Ahmed Oil on toile - 100 x 100 cm - 1982.
Fouad Selim artworks there is abstract
deconstructive lyrical collision
characteristic; from a philosophical
point of view, he sought the tripartite
relationship of the single essence
between the soul, body and self. In these
artworks, he foresaw his biological end
as he suffered from a terminal illness,
followed by the unfair and focused attack.
These offensive campaigns succeeded in
depriving him from his haven where he
glowed and ignited the spark of vitality
(3) John Cage: An avant-garde composer who worked with Marcel de Champs and Mirs Contham,
contemporary American modern dance creator in theatrical works. He used atypical media and sound effects
in his musical manifestations.
170
