Page 183 - Ahmed Fouad Selim
P. 183
This stage in Selim’s art reflects a
clear ambition in dealing with large
paintings and the creation of sequential
variations on one melody, and in dealing
with the philology of visual language
and the eloquence of that language
after he avoided since the mid1960-s
the representational side of his artistic
speech where he directed to the abstract
tunes despite its geometry and counting,
and pure music that is not accompanied
by singing and gestures.
In the second half of the 1960s,
Selim's artworks represented as his
professional beginnings as a capable
painter and a researcher who sows the
seeds of his generous career supported Oil on toile - 1984
by experiments which is not equivalent
to the visual experience of the viewer,
but rather to the work itself and its interrelated relationship.
The 1960s experience of Ahmed Fouad Selim achieved mostly this kind of pure
visual meaning.
In Selim’s figuration of the relationship between the endeavors of modernity and
the idea of heritage, he says: "The task of revealing that relationship was thorny and
accurate, as the idea of heritage was ambiguous and complex while modernization
was a serious issue; how can they merge without a synthesis in the context of
innovation? How does heritage meet modernization? How can the basic techniques
be borrowed to produce art and they were emerged from another culture in different
circumstances?” Selim attributed to the tendency of the aesthetic elements of the
letter element of Islamic art in a certain proportion to the reaction to the defeat of
1967, and in part to the attempt by the pioneer generation to search for national
identity features in modern art, including the experiences of Youssef Sida, Hamed
Abd Allah, and important Iraqi, Moroccan and Iranian artists.
Selim believes that the aesthetics of Islamic art are flexible and pliable for the
purposes of the contemporary artist from both aesthetic and technical points of view.
It is the art of equilibrium that is characterized by the features of tide, and cut and
paste. Its vocabulary can be formed in three dimensions; it is pliable and can be
transformed and intonated, sorted, combined, quadrated and recycled. It is art which
based on a fundamentalist hypothesis in the art approach based on a constructive
base in the design approach.
Selim and his colleagues interested in the Arabic letters have focused on the plastic
techniques and capabilities such as flexibility, pliability, balance and transformation
181
clear ambition in dealing with large
paintings and the creation of sequential
variations on one melody, and in dealing
with the philology of visual language
and the eloquence of that language
after he avoided since the mid1960-s
the representational side of his artistic
speech where he directed to the abstract
tunes despite its geometry and counting,
and pure music that is not accompanied
by singing and gestures.
In the second half of the 1960s,
Selim's artworks represented as his
professional beginnings as a capable
painter and a researcher who sows the
seeds of his generous career supported Oil on toile - 1984
by experiments which is not equivalent
to the visual experience of the viewer,
but rather to the work itself and its interrelated relationship.
The 1960s experience of Ahmed Fouad Selim achieved mostly this kind of pure
visual meaning.
In Selim’s figuration of the relationship between the endeavors of modernity and
the idea of heritage, he says: "The task of revealing that relationship was thorny and
accurate, as the idea of heritage was ambiguous and complex while modernization
was a serious issue; how can they merge without a synthesis in the context of
innovation? How does heritage meet modernization? How can the basic techniques
be borrowed to produce art and they were emerged from another culture in different
circumstances?” Selim attributed to the tendency of the aesthetic elements of the
letter element of Islamic art in a certain proportion to the reaction to the defeat of
1967, and in part to the attempt by the pioneer generation to search for national
identity features in modern art, including the experiences of Youssef Sida, Hamed
Abd Allah, and important Iraqi, Moroccan and Iranian artists.
Selim believes that the aesthetics of Islamic art are flexible and pliable for the
purposes of the contemporary artist from both aesthetic and technical points of view.
It is the art of equilibrium that is characterized by the features of tide, and cut and
paste. Its vocabulary can be formed in three dimensions; it is pliable and can be
transformed and intonated, sorted, combined, quadrated and recycled. It is art which
based on a fundamentalist hypothesis in the art approach based on a constructive
base in the design approach.
Selim and his colleagues interested in the Arabic letters have focused on the plastic
techniques and capabilities such as flexibility, pliability, balance and transformation
181
