Page 64 - Ahmed Fouad Selim
P. 64
و ﻧﺟده ﯾﻘﯾم،ﻟﻘد ﺗﺄﺛر ﺳﻠﯾم ﺑطﺑﯾﻌﺔ اﻟﻌﺻر و ﺣرﻛﺗﮫ اﻟﻣﺳﺗﻣرة آﻟﯾﺗﮫ و ﻛذﻟك ﻓﻲ إﺗﺟﺎه اﻟﻧﻣو اﻟطﺑﯾﻌﻲ اﻟﺑﯾوﻟوﺟﻲ ﻟﻠﺷﻛ ل
"ﺗﺧﺗﻠف ﻓ ﻲ ﺟوھرھﺎ ﻋﻣﺎ ﻗدﻣﺗﮫ ﺣرﻛﺔ "اﻟدادا،املاعً ﺗرايبيكً ﻷﺷﯾﺎء "أوﺑﺟﯾﻛت" أﻟﻔﮭﺎ و ﺻﻣﻣﮭﺎ ﻟﺗوھﻣﻧﺎ ﺑوظﺎﺋف ﻓﻌﻠﯾﺔ
،ﺑﯾﻛﺎﺑﯾﺎ،أرﺷﺑﯾﻧﻛ و،و اﻟﺳﯾرﯾﺎﻟﯾﺔ ﻣن ﺗرﻛﯾﺑﺎت ﻷﺷﯾﺎء ﺟﺎھزة اﻟﺻﻧﻊ ﻓﻲ ﺻﯾﺎﻏﺎت ﻣﺗﻌددة ﻟﻠﻔﻧﺎﻧﯾن أﻣﺛﺎل دوﺷﺎﻣ ب
. و ﻏﯾرھم ...ﻣﺎﻛس أرﻧﺳ ت
اﻟﻠون اﻟذي اﺣﺗوي اﻟﻔراغ اﻟﮭﻧدﺳﻲ ﻋﻠﻲ ظﻼل ﻷﻟوان ﺗؤﻛد ﻣ ن ﺣﺟم و طﺑﯾﻌﺗﮫ :ﺳﺎﻋد ﻋﻠﻲ ﺗﺄﻛﯾد ھذا اﻟﺑﻧﺎء ﻋواﻣل ﺛﻼ ث
ھذا اﻟﺗﺑﺎﯾن اﻟﻣﻼزم ﻟﻠﻌﻧﺎﺻر،و ﻋﺎﻣل اﻟﺗﻘﻧﯾﺔ ﻓﻲ اﺳﺗﺧدام ﻣﺗﺎﺑﯾن ﻟﻠﺧﺎﻣﺎت اﻟدھﻧﯾﺔ و اﻟﻣﺎﺋﯾ ﺔ،"و ﺣﻘﯾﻘﺗﮫ ﻓﻲ "اﻷوﺑﺟﯾﻛت
اﻟﻌﻣل اﻟﺛﺎﻟث و اﻷﺳﺎﺳﻲ ھﻧﺎ ھو ﻋﺎﻣل اﻟﺣرﻛﺔ اﻟذي ﺗﺣدﺛ ﮫ اﻟﻌﻧﺎﺻر اﻟﺛﺎﻧوﯾﺔ ذات اﻟﻠون اﻷﺳود اﻟﻔﺎﻋﻠﺔ ﻓﻲ..اﻟﻣﺳﺗﺧدﻣﺔ
: ھذه اﻟﻌﻧﺎﺻر اﻟطﯾﺎرة و اﻟﺛﺎﻧوﯾﺔ ﺗوﺣﻲ ﺑﻌﺎﻣﻠﯾن،اﻟﻔراغ أو ﻓﻲ أﺑﻌﺎد اﻟﻣﺳطﺢ اﻟﺛﻼﺛﺔ ﻋﻧدﻣﺎ ﺗﺻطدم ﺑﮭﺎ أ وﺗﺗﻌﺎﻣل ﻣﻌﮭﺎ
و اﻟﺣرﻛﺔ اﻟﺗﻲ ﺗﺣدﺛﮭﺎ اﻷﺷﻛﺎل اﻟﻧﺎﺑﻌﺔ،اﻟﺗﺣﻠﯾق اﻟﻧﺎﺑﻊ ﻣن داﺧل اﻟﺷﻛل و ﻣرﺗﺑط ﺑ ﮫ ﻻ ﯾﮭﺟره و ﻟﻛﻧﮫ ﯾﺣﻠق ﻟﯾﻌود
. ..ﻣن أﺳطواﻧﺎت ﺗدور ﺑﺎﻟﻔراﻏﺎت إﻟ ﻲ أﻋﻠﻲ و أﺳﻔ ل
ﻣﺣﻣد طﮫ ﺣﺳﯾ ن
Selim was influenced by the nature, continuous movement, and mechanism of the era, as
well as the direction of the natural biological growth of the form. He developed a structural
world of objects, which he designed to suggest real functions that differ in their essence
from the Dadaism and Surrealism's compositions of ready-made objects in multiple forms
by artists such as Duchamp, Archipenko, Picabia , Max Ernst, and others.
Three factors enhanced the emphasis of this structure. The first factor is the color
embracing the geometric space on shades of colors that stress its size, nature, and reality
in the object. The second factor is the technique of the different use of oil and water
materials, this contrast accompanying the employed elements. The third and primary
factor here is the movement produced by the active black secondary elements in the
space or in the three dimensions of the surface on encountering or dealing with them.
These flying and secondary elements suggest two factors: soaring comes from within, is
associated with, and does not leave the form; it rather flies to come back, as well as the
movement induced by the shapes emanating from cylinders rotating up and down in the
spaces.
Mohamed Taha Hussein
62
"ﺗﺧﺗﻠف ﻓ ﻲ ﺟوھرھﺎ ﻋﻣﺎ ﻗدﻣﺗﮫ ﺣرﻛﺔ "اﻟدادا،املاعً ﺗرايبيكً ﻷﺷﯾﺎء "أوﺑﺟﯾﻛت" أﻟﻔﮭﺎ و ﺻﻣﻣﮭﺎ ﻟﺗوھﻣﻧﺎ ﺑوظﺎﺋف ﻓﻌﻠﯾﺔ
،ﺑﯾﻛﺎﺑﯾﺎ،أرﺷﺑﯾﻧﻛ و،و اﻟﺳﯾرﯾﺎﻟﯾﺔ ﻣن ﺗرﻛﯾﺑﺎت ﻷﺷﯾﺎء ﺟﺎھزة اﻟﺻﻧﻊ ﻓﻲ ﺻﯾﺎﻏﺎت ﻣﺗﻌددة ﻟﻠﻔﻧﺎﻧﯾن أﻣﺛﺎل دوﺷﺎﻣ ب
. و ﻏﯾرھم ...ﻣﺎﻛس أرﻧﺳ ت
اﻟﻠون اﻟذي اﺣﺗوي اﻟﻔراغ اﻟﮭﻧدﺳﻲ ﻋﻠﻲ ظﻼل ﻷﻟوان ﺗؤﻛد ﻣ ن ﺣﺟم و طﺑﯾﻌﺗﮫ :ﺳﺎﻋد ﻋﻠﻲ ﺗﺄﻛﯾد ھذا اﻟﺑﻧﺎء ﻋواﻣل ﺛﻼ ث
ھذا اﻟﺗﺑﺎﯾن اﻟﻣﻼزم ﻟﻠﻌﻧﺎﺻر،و ﻋﺎﻣل اﻟﺗﻘﻧﯾﺔ ﻓﻲ اﺳﺗﺧدام ﻣﺗﺎﺑﯾن ﻟﻠﺧﺎﻣﺎت اﻟدھﻧﯾﺔ و اﻟﻣﺎﺋﯾ ﺔ،"و ﺣﻘﯾﻘﺗﮫ ﻓﻲ "اﻷوﺑﺟﯾﻛت
اﻟﻌﻣل اﻟﺛﺎﻟث و اﻷﺳﺎﺳﻲ ھﻧﺎ ھو ﻋﺎﻣل اﻟﺣرﻛﺔ اﻟذي ﺗﺣدﺛ ﮫ اﻟﻌﻧﺎﺻر اﻟﺛﺎﻧوﯾﺔ ذات اﻟﻠون اﻷﺳود اﻟﻔﺎﻋﻠﺔ ﻓﻲ..اﻟﻣﺳﺗﺧدﻣﺔ
: ھذه اﻟﻌﻧﺎﺻر اﻟطﯾﺎرة و اﻟﺛﺎﻧوﯾﺔ ﺗوﺣﻲ ﺑﻌﺎﻣﻠﯾن،اﻟﻔراغ أو ﻓﻲ أﺑﻌﺎد اﻟﻣﺳطﺢ اﻟﺛﻼﺛﺔ ﻋﻧدﻣﺎ ﺗﺻطدم ﺑﮭﺎ أ وﺗﺗﻌﺎﻣل ﻣﻌﮭﺎ
و اﻟﺣرﻛﺔ اﻟﺗﻲ ﺗﺣدﺛﮭﺎ اﻷﺷﻛﺎل اﻟﻧﺎﺑﻌﺔ،اﻟﺗﺣﻠﯾق اﻟﻧﺎﺑﻊ ﻣن داﺧل اﻟﺷﻛل و ﻣرﺗﺑط ﺑ ﮫ ﻻ ﯾﮭﺟره و ﻟﻛﻧﮫ ﯾﺣﻠق ﻟﯾﻌود
. ..ﻣن أﺳطواﻧﺎت ﺗدور ﺑﺎﻟﻔراﻏﺎت إﻟ ﻲ أﻋﻠﻲ و أﺳﻔ ل
ﻣﺣﻣد طﮫ ﺣﺳﯾ ن
Selim was influenced by the nature, continuous movement, and mechanism of the era, as
well as the direction of the natural biological growth of the form. He developed a structural
world of objects, which he designed to suggest real functions that differ in their essence
from the Dadaism and Surrealism's compositions of ready-made objects in multiple forms
by artists such as Duchamp, Archipenko, Picabia , Max Ernst, and others.
Three factors enhanced the emphasis of this structure. The first factor is the color
embracing the geometric space on shades of colors that stress its size, nature, and reality
in the object. The second factor is the technique of the different use of oil and water
materials, this contrast accompanying the employed elements. The third and primary
factor here is the movement produced by the active black secondary elements in the
space or in the three dimensions of the surface on encountering or dealing with them.
These flying and secondary elements suggest two factors: soaring comes from within, is
associated with, and does not leave the form; it rather flies to come back, as well as the
movement induced by the shapes emanating from cylinders rotating up and down in the
spaces.
Mohamed Taha Hussein
62
