Page 180 - Ahmed Fouad Selim
P. 180
Nude - 1999
consciousness and romantic, Selim avoided both taboos to retain his control over
the aesthetic and compositional decision. Therefore, following the series of the
important paintings he portrayed in the second half of the sixties clarifies that his
pure abstract research is remarkably distinctive in addressing the conflict between
geometric and organic relations and taming of one other. Thus, he shifted gradually
from geometric abstraction to expressionist abstractionism that much befits his cultural
and philosophical orientation, his imagination and contemplative capabilities, and
the creativity inherent in his personality, along with his marvelous ability to summon
the temper and liberate from the base.
Within this abstract framework, we find his stylistic transformations, the careful
presentation of the calligraphic features, the reflection of his contemplation of Arabic
calligraphy and its fusion in his expressionistic artistic mood, adding perspective and
other flowing dimensions.
Moreover, the decorative iron designs, especially in the use of black grids on
backgrounds of blended colors and gradient areas that look like shapes hammered
on metal strips. An important feature of this stage was that he followed a sequential
compositional form, and then he tended to resist and breaks that form through the
directions of lines, change of the sequence, or the color shock from time to time.
Another feature manifested in the works of that stage was the experimentation with
art materials and media, as his orientation to use the "variable of experimentation" in
178
consciousness and romantic, Selim avoided both taboos to retain his control over
the aesthetic and compositional decision. Therefore, following the series of the
important paintings he portrayed in the second half of the sixties clarifies that his
pure abstract research is remarkably distinctive in addressing the conflict between
geometric and organic relations and taming of one other. Thus, he shifted gradually
from geometric abstraction to expressionist abstractionism that much befits his cultural
and philosophical orientation, his imagination and contemplative capabilities, and
the creativity inherent in his personality, along with his marvelous ability to summon
the temper and liberate from the base.
Within this abstract framework, we find his stylistic transformations, the careful
presentation of the calligraphic features, the reflection of his contemplation of Arabic
calligraphy and its fusion in his expressionistic artistic mood, adding perspective and
other flowing dimensions.
Moreover, the decorative iron designs, especially in the use of black grids on
backgrounds of blended colors and gradient areas that look like shapes hammered
on metal strips. An important feature of this stage was that he followed a sequential
compositional form, and then he tended to resist and breaks that form through the
directions of lines, change of the sequence, or the color shock from time to time.
Another feature manifested in the works of that stage was the experimentation with
art materials and media, as his orientation to use the "variable of experimentation" in
178
