Page 182 - Ahmed Fouad Selim
P. 182
modernization, depending on a structural perspective in the design approach, In
this he says: "abstraction remains the closest to me... Lover of Arabic letter... Arabic
letter has global artistic aesthetics", but he and other who lover letters have ignored
the Sufi spiritual flyover dimension of Arabic calligraphy art, which is supporting
it by an intellectual, humanistic and emotional view. This is what some such as
Ahmed Maher Raef, Ahmed Mustafa from Egypt have alluded to in their theoretical
researches in Germany and England, and the Iraqi Shaker Hassan Al Said, and the
Iranian Hossein Zenderoudi, each in his writings and plastic experiments.
This stage paved the way for Selim to discover a methodical approch to deal with
Arabic letters to acquire an organic nature such as the human or semi-human being,
where you can find the twists, turns and strong kinetic formations. This was in parallel
with the experiences of the modern formations of the Arabic letters of Mohamed
Taha Hussein, Ramzi Mustafa and sometimes Saleh Reda. They were following the
pioneering experiments in dealing with the Arabic letters of the artists Youssef Sida,
Hamid Abd Allah, and Abou Khalil Lutfi each with his creative approach and his
constructive, aesthetic and unique symbolic purposes.
Representation and Abstraction:
Since 1964, the creative experience of Selim went through several stages. It began
with the analytical figuration of coarse-shaped human elements to romantic visual
symbols, as in the Doll of the Prophet's Birth, which is pervaded by the scattered
colored lights like flying cotton fibers, in a special translation of impressionism and
a recall of the childhood memories when his eyes were attracted by the scattered
colored lights emitted from the windows of the nuns' school in Damietta. Those
lights came from the stained glass pieces trapped in the lead areas appearing to be
a dominant black framing the light with its bright colors and overwhelming it with a
magical feeling, making this feeling the lasting relationship of his consciousness of
the miracle of color and its influence on
eyes and feelings. In the sixties, the doll
was the end of passion for impressionism
and the charm of the color touches
crowded in the color strips opposite to
the short moving amoebic forms; he
shifted to pure abstractionism and then
to symbolic reductionism.
This stage included another Oil on toile - 2007
experimental line represented in his
inclination to add vividness to the
abstract elements like the metaphorical
figurations, and then he turned again to
the geometric abstractionism concerned
with the visual perspective and expression
of the dynamic movement and depth of
180
this he says: "abstraction remains the closest to me... Lover of Arabic letter... Arabic
letter has global artistic aesthetics", but he and other who lover letters have ignored
the Sufi spiritual flyover dimension of Arabic calligraphy art, which is supporting
it by an intellectual, humanistic and emotional view. This is what some such as
Ahmed Maher Raef, Ahmed Mustafa from Egypt have alluded to in their theoretical
researches in Germany and England, and the Iraqi Shaker Hassan Al Said, and the
Iranian Hossein Zenderoudi, each in his writings and plastic experiments.
This stage paved the way for Selim to discover a methodical approch to deal with
Arabic letters to acquire an organic nature such as the human or semi-human being,
where you can find the twists, turns and strong kinetic formations. This was in parallel
with the experiences of the modern formations of the Arabic letters of Mohamed
Taha Hussein, Ramzi Mustafa and sometimes Saleh Reda. They were following the
pioneering experiments in dealing with the Arabic letters of the artists Youssef Sida,
Hamid Abd Allah, and Abou Khalil Lutfi each with his creative approach and his
constructive, aesthetic and unique symbolic purposes.
Representation and Abstraction:
Since 1964, the creative experience of Selim went through several stages. It began
with the analytical figuration of coarse-shaped human elements to romantic visual
symbols, as in the Doll of the Prophet's Birth, which is pervaded by the scattered
colored lights like flying cotton fibers, in a special translation of impressionism and
a recall of the childhood memories when his eyes were attracted by the scattered
colored lights emitted from the windows of the nuns' school in Damietta. Those
lights came from the stained glass pieces trapped in the lead areas appearing to be
a dominant black framing the light with its bright colors and overwhelming it with a
magical feeling, making this feeling the lasting relationship of his consciousness of
the miracle of color and its influence on
eyes and feelings. In the sixties, the doll
was the end of passion for impressionism
and the charm of the color touches
crowded in the color strips opposite to
the short moving amoebic forms; he
shifted to pure abstractionism and then
to symbolic reductionism.
This stage included another Oil on toile - 2007
experimental line represented in his
inclination to add vividness to the
abstract elements like the metaphorical
figurations, and then he turned again to
the geometric abstractionism concerned
with the visual perspective and expression
of the dynamic movement and depth of
180
