Page 182 - Ahmed Ragab Sakr
P. 182
the ancient Egyptian builds his sculptural
murals; the visual surface in the artist's paint-
ings always remains a smooth space for the
accumulation of layers and the emergence of
relief and bas-relief sculptural work. Very diffi-
cult treatments come to reflect the greatest ex-
tent of the artist's ability and experience when
we see him reaches his aim at delivering a full
sense of transparency that drives the eye to a
preliminary read of the impact of the first layer
of sand on the special blue backgrounds, then
to successive readings of the impact of each
layer of sand on what is under its influence of
sandy surfaces of many visual work moving
from solid spaces to areas of quick fine lines
outpouring in the eloquent depiction space.
In Sakr's artworks with their variety of content
and essence, the face attends a dominant
master of visual existence. It is a worthy pres-
ence as it really exists, especially since there is
nothing more credible and defined for a sense
except the face with its graceful features of
women shaped by the artist from the spectrum
and scents. He went on his plastic play, spin-
ning his threads of spiritual fabric through the
geography of the faces which appeared in the
richness of its component as echoes of the im-
ages of the adored and eternal land.
In his experimental endeavor, the artist com-
bines the photographic material that he knows
its essence, mainly images of artistic, literary
and national symbols, and some manuscripts
in accordance with the balance of the original
Arabic calligraphy. In his paintings, series of
linear sequences that are familiar with the gen-
eral painting component have been clearly vis-
ible; these text sequences undoubtedly have
succeeded in giving these paintings a vocal
180
murals; the visual surface in the artist's paint-
ings always remains a smooth space for the
accumulation of layers and the emergence of
relief and bas-relief sculptural work. Very diffi-
cult treatments come to reflect the greatest ex-
tent of the artist's ability and experience when
we see him reaches his aim at delivering a full
sense of transparency that drives the eye to a
preliminary read of the impact of the first layer
of sand on the special blue backgrounds, then
to successive readings of the impact of each
layer of sand on what is under its influence of
sandy surfaces of many visual work moving
from solid spaces to areas of quick fine lines
outpouring in the eloquent depiction space.
In Sakr's artworks with their variety of content
and essence, the face attends a dominant
master of visual existence. It is a worthy pres-
ence as it really exists, especially since there is
nothing more credible and defined for a sense
except the face with its graceful features of
women shaped by the artist from the spectrum
and scents. He went on his plastic play, spin-
ning his threads of spiritual fabric through the
geography of the faces which appeared in the
richness of its component as echoes of the im-
ages of the adored and eternal land.
In his experimental endeavor, the artist com-
bines the photographic material that he knows
its essence, mainly images of artistic, literary
and national symbols, and some manuscripts
in accordance with the balance of the original
Arabic calligraphy. In his paintings, series of
linear sequences that are familiar with the gen-
eral painting component have been clearly vis-
ible; these text sequences undoubtedly have
succeeded in giving these paintings a vocal
180
