Page 178 - Ahmed Fouad Selim
P. 178
tures of hot and cold elements,
and each color partially acquired the
character of the other, becoming neutral.
However, he kept the color characteristics
of other mixtures with varying degrees
of surprising vividness and brightness,
representing a key aspect of Selim's
expressionist character, not only in
coloring but also in the formulation
of elements and the composition of
the work. He tended to follow a basic
approach and then spread through with
an unexpected partial displacement
in certain areas of basic sequences,
succeeding in liberating creativity from
the certainty of knowledge and skill.
Not only were the color scheme
choices and the energy variability in their
spectra, but also his application of colors
and their quality. For quality, Selim used
what is transparent and delicate, shiny Painting - oil colors on Solitex - 49 x 30 cm - 1968
and matte, opaque and paste-like, and
rough as he added the colored earth
oxides to shape a color paste. Selim moved those colored shapes on the surface of
the painting, using highly diverse and unusual tools, as well as the usual brushes.
He scratched off the color surfaces with serrated tools in circular and semi-circular
motions, revealing the rhythms of the beams of parallel lines in interlocking arc paths
as overlapping horseshoes, which distinguishes the 1969's paintings.
In a painting dated to 1968, Selim formed those spiral beams of parallel and
overlapping strips and lines from a thick color paste to make a prominent relief and
then covered it completely with a solid dark green oil color to keep its protrusion and
the effect of light falling on it.
Selim used a sharp tool to scratch off or cut lines across the painting from right to
left, sometimes to make a deep groove and fill it with a bright color as vermillion red
or brilliant red, or to scrap the color surface with a sharp blade, creating a vibrant
texture, as the top layer of color reveals the remnants of lower layer while spreading
through its sunken protrusions.
Color, Shape and Composition:
These technical treatments in the application of colors and adaptation and tame
their energies to serve the plastic art, symbolic and expressive purpose, are considered
the input of the color character of Selim’s artworks, supported and supplemented by
176
and each color partially acquired the
character of the other, becoming neutral.
However, he kept the color characteristics
of other mixtures with varying degrees
of surprising vividness and brightness,
representing a key aspect of Selim's
expressionist character, not only in
coloring but also in the formulation
of elements and the composition of
the work. He tended to follow a basic
approach and then spread through with
an unexpected partial displacement
in certain areas of basic sequences,
succeeding in liberating creativity from
the certainty of knowledge and skill.
Not only were the color scheme
choices and the energy variability in their
spectra, but also his application of colors
and their quality. For quality, Selim used
what is transparent and delicate, shiny Painting - oil colors on Solitex - 49 x 30 cm - 1968
and matte, opaque and paste-like, and
rough as he added the colored earth
oxides to shape a color paste. Selim moved those colored shapes on the surface of
the painting, using highly diverse and unusual tools, as well as the usual brushes.
He scratched off the color surfaces with serrated tools in circular and semi-circular
motions, revealing the rhythms of the beams of parallel lines in interlocking arc paths
as overlapping horseshoes, which distinguishes the 1969's paintings.
In a painting dated to 1968, Selim formed those spiral beams of parallel and
overlapping strips and lines from a thick color paste to make a prominent relief and
then covered it completely with a solid dark green oil color to keep its protrusion and
the effect of light falling on it.
Selim used a sharp tool to scratch off or cut lines across the painting from right to
left, sometimes to make a deep groove and fill it with a bright color as vermillion red
or brilliant red, or to scrap the color surface with a sharp blade, creating a vibrant
texture, as the top layer of color reveals the remnants of lower layer while spreading
through its sunken protrusions.
Color, Shape and Composition:
These technical treatments in the application of colors and adaptation and tame
their energies to serve the plastic art, symbolic and expressive purpose, are considered
the input of the color character of Selim’s artworks, supported and supplemented by
176
