Page 185 - Ahmed Fouad Selim
P. 185
nness and prolonged reflection to assimilate and then respond to it. with his
collocative and experimental tendencies, Selim recently tended to address the three-
dimensional assembling bodies, using the blocks of stone and pieces of crushed and
burned musical instruments in collision expressive compositions.
The Tendency of Experimentation in Plastic Art Media:
In the sixties, the Egyptian artistic movement showed a state of rebellion and
a sweeping desire to research and experiment in materials, media, techniques
and art crafts; unprecedented materials were used by painters in particular in the
artistic movement. They left from the use of oils that their invention dates back to
the fifteenth century to open new horizons for painters, exceeding the limits of the
fresco and tempera, and to empower them to depict the visual tricks of the view.
This invention, oils, has limited the artist
freedom in drawing and to choose
one of the specific techniques for the
composition. With the emergence
of cubism, abstraction, collage and
assemblage, the material has become a
pivotal entry point for experimentation
and the search for new materials, media
and techniques, including poverty art,
action painting, earth art, environmental
art, and installation.
In the Egyptian movement, Saad
El-Khadem and Effat Nagy were truly
pioneers in discovering artistic uses of
unusual materials. In the early 1960s,
for the first time in Egyptian art, they
used industrial surfaces for drawing Oil on toile - 125X125 cm - 1990
such as formica, plastic, aluminum and
leather. They used industrial dyes such as duco, lacquers, wood dyes, cloth, printing
inks, metallic and phosphoric colors, and rubber pastes. Artist Hamed Abd Allah
experimented with the use of paste in his painting work; Mounir Kanaan went to
accumulated pasting experience of pre-printed papers after being removed to strips
and patches in the composition of his artworks. These experiments have opened
wide horizons for the audacity of the artists and freed them from the limits of oil and
water colors with renewable fine art approaches.
in the sixties, Selim used oils with its various plastic usage in terms of degrees
of liquidity and transparency, in terms of opacity, brightness and roughness of the
surface, and in terms of the smooth flow on the surface of the drawing canvas, or
the separation, wrinkle, scraping and scratching and applying them in the layers
that the top layers are showing some of the layers below, using earthy colors, dyes,
printing inks and alcoholic colorants, types of petroleum, plant, alcohol and synthetic
183
collocative and experimental tendencies, Selim recently tended to address the three-
dimensional assembling bodies, using the blocks of stone and pieces of crushed and
burned musical instruments in collision expressive compositions.
The Tendency of Experimentation in Plastic Art Media:
In the sixties, the Egyptian artistic movement showed a state of rebellion and
a sweeping desire to research and experiment in materials, media, techniques
and art crafts; unprecedented materials were used by painters in particular in the
artistic movement. They left from the use of oils that their invention dates back to
the fifteenth century to open new horizons for painters, exceeding the limits of the
fresco and tempera, and to empower them to depict the visual tricks of the view.
This invention, oils, has limited the artist
freedom in drawing and to choose
one of the specific techniques for the
composition. With the emergence
of cubism, abstraction, collage and
assemblage, the material has become a
pivotal entry point for experimentation
and the search for new materials, media
and techniques, including poverty art,
action painting, earth art, environmental
art, and installation.
In the Egyptian movement, Saad
El-Khadem and Effat Nagy were truly
pioneers in discovering artistic uses of
unusual materials. In the early 1960s,
for the first time in Egyptian art, they
used industrial surfaces for drawing Oil on toile - 125X125 cm - 1990
such as formica, plastic, aluminum and
leather. They used industrial dyes such as duco, lacquers, wood dyes, cloth, printing
inks, metallic and phosphoric colors, and rubber pastes. Artist Hamed Abd Allah
experimented with the use of paste in his painting work; Mounir Kanaan went to
accumulated pasting experience of pre-printed papers after being removed to strips
and patches in the composition of his artworks. These experiments have opened
wide horizons for the audacity of the artists and freed them from the limits of oil and
water colors with renewable fine art approaches.
in the sixties, Selim used oils with its various plastic usage in terms of degrees
of liquidity and transparency, in terms of opacity, brightness and roughness of the
surface, and in terms of the smooth flow on the surface of the drawing canvas, or
the separation, wrinkle, scraping and scratching and applying them in the layers
that the top layers are showing some of the layers below, using earthy colors, dyes,
printing inks and alcoholic colorants, types of petroleum, plant, alcohol and synthetic
183
