Page 186 - Ahmed Fouad Selim
P. 186
ical turning point in the face of the
restrictions of the school custom, and a
starting point in the history of Egyptian
art; they recreated the creative dynamism.
This had a profound impact on all
art exhibitions held in Cairo in 1960
towards the modern development of the
subjective tendency with the assertion of
the artist's identity. Fouad Akmal believes
that the values of the artwork do not lie
in its literary or social meaning, but in its
subject matter with emotion, praise and
feelings of coordination through lines,
shapes, colors, lights, shades and texture
of surfaces. The concept was manifested
in the work of Selim in the creation of Oil on toile - 115X125 cm - 1988
affixing, upholstery, print fingerprints
and Soft Sculpture in the implementation of those symbolic amulets that culminate
his recent depicted work. With its velvet and gold colors, the paintings complement
their sobriety with the momentum of the violent composition of their collage and
assemblage work within the framework of abstract expressionism.
The experience of the artist Ahmed Fouad Selim went through successive stages,
each of which has a series of transitional steps as if it was an experimental flow and a
dominant idea that needs catharsis and exhausting its available capabilities. Isostatic
geometric architectural flows in the research of the two dimensions, interspersed
with waves concerned with the principles of the isometric perspective to express the
place through linear architectural structures or convergence and divergence through
colored stripes that resemble cloth, extending to the perspective depth of the panel
in the paths of the glass to enjoy the multiplicity and renewal of the lights, shadows
and other experimental two-dimensional tones which remove any relationship to the
perspective. It depends on movement in a narrow depth range or as if it is affixed
to the panel that is consisting of squares, circles, semi-circles and cross lines or
lines crossing the surface of the panels with activation of color zones and glow of
other color nuggets in a flash that evokes the visual taste of the viewer. There are
also these silhouettes which suggest the swelling of some surfaces to soft terrain,
scraping, patina and scratching that achieve a concrete characteristic on the one
hand and emphasize the two-dimensional form on the other hand, as well as a sense
of oriental adorning, resulting from the convergence of scratches tones and places of
accumulation in successive waves.
In his recent works, Selim combines the pointillism and assemblage in hurly-
burly that we see in a synthesis that combines the softness of painting, the coloring
serenity, the dyeing and the roughness of the surface, the puzzling messages of the
inexperienced viewer. His recent large painting work requires a large amount of
184
restrictions of the school custom, and a
starting point in the history of Egyptian
art; they recreated the creative dynamism.
This had a profound impact on all
art exhibitions held in Cairo in 1960
towards the modern development of the
subjective tendency with the assertion of
the artist's identity. Fouad Akmal believes
that the values of the artwork do not lie
in its literary or social meaning, but in its
subject matter with emotion, praise and
feelings of coordination through lines,
shapes, colors, lights, shades and texture
of surfaces. The concept was manifested
in the work of Selim in the creation of Oil on toile - 115X125 cm - 1988
affixing, upholstery, print fingerprints
and Soft Sculpture in the implementation of those symbolic amulets that culminate
his recent depicted work. With its velvet and gold colors, the paintings complement
their sobriety with the momentum of the violent composition of their collage and
assemblage work within the framework of abstract expressionism.
The experience of the artist Ahmed Fouad Selim went through successive stages,
each of which has a series of transitional steps as if it was an experimental flow and a
dominant idea that needs catharsis and exhausting its available capabilities. Isostatic
geometric architectural flows in the research of the two dimensions, interspersed
with waves concerned with the principles of the isometric perspective to express the
place through linear architectural structures or convergence and divergence through
colored stripes that resemble cloth, extending to the perspective depth of the panel
in the paths of the glass to enjoy the multiplicity and renewal of the lights, shadows
and other experimental two-dimensional tones which remove any relationship to the
perspective. It depends on movement in a narrow depth range or as if it is affixed
to the panel that is consisting of squares, circles, semi-circles and cross lines or
lines crossing the surface of the panels with activation of color zones and glow of
other color nuggets in a flash that evokes the visual taste of the viewer. There are
also these silhouettes which suggest the swelling of some surfaces to soft terrain,
scraping, patina and scratching that achieve a concrete characteristic on the one
hand and emphasize the two-dimensional form on the other hand, as well as a sense
of oriental adorning, resulting from the convergence of scratches tones and places of
accumulation in successive waves.
In his recent works, Selim combines the pointillism and assemblage in hurly-
burly that we see in a synthesis that combines the softness of painting, the coloring
serenity, the dyeing and the roughness of the surface, the puzzling messages of the
inexperienced viewer. His recent large painting work requires a large amount of
184
