Page 173 - Ahmed Fouad Selim
P. 173
pite the ruler, and the plot of curved
lines and gradient pigmentation. You are
in front of the paintings of the first half
of the nineties when the music embodies
rebellion of the wild brutal energy such
as the music of the Firebird and the Rite
of Spring by Stravinsky as Selim gives to
the flow of the burning feeling a priority
over the constructional basis of the design
foundations; these forming relations are
achieved through stampeding of the
subconscious and internal rhythm more
than theoretical calculations; it is a case
of remarkable creative maturity.
Collage Tendency Oil on toile - 101 x 101 cm - 1976.
Persistently, collage has been shown
in Selim’s paintings since 1994; it is not pasting collage but illusory collage by
using coloring, shading and pointing techniques, outlining the virtual cut shapes by
shading. In this period, the artist's tendency to isolate cold and warm colors, and to
combine bilateral oppositions also gradually emerged.
As early as 1994, Selim treated effectively the collage in its physical form, using
organza and monotype on oil-colored backgrounds on canvas, creating foggy and
fuzzy worlds fragmented into vertical ranges; then the tongues of parallel lines areas
fly over them like a flock of birds; they exit from the fog in split in the middle of the
painting toward the left side of the painting in an accelerated flight.
Thick oil color paste is used in wide touches on vertical stripes one of which is
cold blue and green and the second is fiery scarlet red with white. Then the stripes
with parallel lines are twisted into a perspective illusion, then this perspective sense
is confirmed by dividing the background of the composition into isometric lines that
confirm the depth by shading intensity. He drew axes around an illuminated square
with white and light colors on the dark ground to achieve a visual dialogue between
the nature of the two-dimensional painting and the illusory third dimension that
expresses the perspective depth.
In these artworks, Selim's polyphony rhythm become vertical rhythm with great
clarity. Then the horizontal and vertical forms turn to enter into focal points in which
elements emerge from the center of coloring, elements that are explosive to fly in
each direction on ground that inspire the depth of such ice caves, filling the eye
with linear scenes and geometric axial lines to confirm both the three-dimensional
perspective and the two-dimensional lines.
From 1973 until his last days, Selim turns with his paintings into square and
large spaces in his paintings. For the previous stage which was mostly governed by
171
lines and gradient pigmentation. You are
in front of the paintings of the first half
of the nineties when the music embodies
rebellion of the wild brutal energy such
as the music of the Firebird and the Rite
of Spring by Stravinsky as Selim gives to
the flow of the burning feeling a priority
over the constructional basis of the design
foundations; these forming relations are
achieved through stampeding of the
subconscious and internal rhythm more
than theoretical calculations; it is a case
of remarkable creative maturity.
Collage Tendency Oil on toile - 101 x 101 cm - 1976.
Persistently, collage has been shown
in Selim’s paintings since 1994; it is not pasting collage but illusory collage by
using coloring, shading and pointing techniques, outlining the virtual cut shapes by
shading. In this period, the artist's tendency to isolate cold and warm colors, and to
combine bilateral oppositions also gradually emerged.
As early as 1994, Selim treated effectively the collage in its physical form, using
organza and monotype on oil-colored backgrounds on canvas, creating foggy and
fuzzy worlds fragmented into vertical ranges; then the tongues of parallel lines areas
fly over them like a flock of birds; they exit from the fog in split in the middle of the
painting toward the left side of the painting in an accelerated flight.
Thick oil color paste is used in wide touches on vertical stripes one of which is
cold blue and green and the second is fiery scarlet red with white. Then the stripes
with parallel lines are twisted into a perspective illusion, then this perspective sense
is confirmed by dividing the background of the composition into isometric lines that
confirm the depth by shading intensity. He drew axes around an illuminated square
with white and light colors on the dark ground to achieve a visual dialogue between
the nature of the two-dimensional painting and the illusory third dimension that
expresses the perspective depth.
In these artworks, Selim's polyphony rhythm become vertical rhythm with great
clarity. Then the horizontal and vertical forms turn to enter into focal points in which
elements emerge from the center of coloring, elements that are explosive to fly in
each direction on ground that inspire the depth of such ice caves, filling the eye
with linear scenes and geometric axial lines to confirm both the three-dimensional
perspective and the two-dimensional lines.
From 1973 until his last days, Selim turns with his paintings into square and
large spaces in his paintings. For the previous stage which was mostly governed by
171
