Page 177 - Ahmed Fouad Selim
P. 177
er pictorial inputs. He uses thick solid colors on large areas of the painting surface.
Another input depends on the linear movements of spiral free color camouflage of
overlapping colors like red, white and green as in a painting depicted by the artist
in 1966. On the other hand, Selim uses color spaces with strong color energy and
color camouflage as well as using gradation shading technology where his energy
glows at the boundaries of the painted areas and gradation in the direction of the
frames of the painting to achieve a sense of the emergence of these spaces of the
floor or the suggestion of its extension beyond the frames of the painting as was done
by Color Field painters. Sometimes, the artist tends to drawing in black in rhythmic
spiral selections in terms of the lines paths, and harmony and those lines thickness
gradation; then this endeavor turns to create metamorphosis synthesis forms of molten
organisms, as if a convex lens was overwhelmed and turned around, especially the
use of black on a ground colored in red and olive green in 1968. The black interlacing
such as decorative iron of arches, circles, lines, and inclined links adds moving
dynamism confirmed by the light background of camouflaged white with brown,
gray and silver touches in 1967. In order to reveal this dynamic character, the artist
tended to the clashes between areas passing in the heart of the painting from right to
left like the horizontal stripes which were filled with spiral, circular and semi-circular
linear rhythms that their movement was supported by horizontal lines extending on
a flat wide cool gray silver ground. Then arches appeared in his paintings in the top
of the painting in bright colors such as turquoise green on silver gray ground that is
exquisitely gleams, while a central space in pink pottery is covered with a thick layer
of black, scraped by arc linear rhythms where lines reveal the color of pottery.
The colors of this type of paintings Oil on toile - 50 x 70 cm
appear in green and Prussian blue
which are scratched by semi-circular
spiral movements. Turquoise green,
red and matte black with charcoal and
acre, tomato and pink, antique copper
oxidized, and bright vermillion red in
succession with blue, olive, cement and
brick, scarlet, turquoise, bright turquoise,
brown and yellow are also appeared. The
upper and lower arches dominate some
formations so that the painting is divided
into sequential and relatively opposite
arc areas of varying degrees of color.
In the remaining area in the middle of
the formation, Selim puts a circular
space divided into areas and arches like
a luminary centered in the heart of the
universe in 1968. In the same year, the
upper and lower arches group was linked
together, leaving two areas to the left and
175
Another input depends on the linear movements of spiral free color camouflage of
overlapping colors like red, white and green as in a painting depicted by the artist
in 1966. On the other hand, Selim uses color spaces with strong color energy and
color camouflage as well as using gradation shading technology where his energy
glows at the boundaries of the painted areas and gradation in the direction of the
frames of the painting to achieve a sense of the emergence of these spaces of the
floor or the suggestion of its extension beyond the frames of the painting as was done
by Color Field painters. Sometimes, the artist tends to drawing in black in rhythmic
spiral selections in terms of the lines paths, and harmony and those lines thickness
gradation; then this endeavor turns to create metamorphosis synthesis forms of molten
organisms, as if a convex lens was overwhelmed and turned around, especially the
use of black on a ground colored in red and olive green in 1968. The black interlacing
such as decorative iron of arches, circles, lines, and inclined links adds moving
dynamism confirmed by the light background of camouflaged white with brown,
gray and silver touches in 1967. In order to reveal this dynamic character, the artist
tended to the clashes between areas passing in the heart of the painting from right to
left like the horizontal stripes which were filled with spiral, circular and semi-circular
linear rhythms that their movement was supported by horizontal lines extending on
a flat wide cool gray silver ground. Then arches appeared in his paintings in the top
of the painting in bright colors such as turquoise green on silver gray ground that is
exquisitely gleams, while a central space in pink pottery is covered with a thick layer
of black, scraped by arc linear rhythms where lines reveal the color of pottery.
The colors of this type of paintings Oil on toile - 50 x 70 cm
appear in green and Prussian blue
which are scratched by semi-circular
spiral movements. Turquoise green,
red and matte black with charcoal and
acre, tomato and pink, antique copper
oxidized, and bright vermillion red in
succession with blue, olive, cement and
brick, scarlet, turquoise, bright turquoise,
brown and yellow are also appeared. The
upper and lower arches dominate some
formations so that the painting is divided
into sequential and relatively opposite
arc areas of varying degrees of color.
In the remaining area in the middle of
the formation, Selim puts a circular
space divided into areas and arches like
a luminary centered in the heart of the
universe in 1968. In the same year, the
upper and lower arches group was linked
together, leaving two areas to the left and
175
