Page 186 - Ahmed Ragab Sakr
P. 186
se a form that responds to the technical fixing methods, pasting it on the surfaces of
the paintings in the desired manner. According to the insights and ideas that were ex-
plored deeply in the concept of renewable life and were chosen from among the inspira-
tions this most expressive element of existence and went to form it in blocks or spaces,
in shapes and perceptions, and within topics that do not only respond to the aesthetics
of the formation and its deep concepts, but also at the same time respond to the glow of
cognitive mind that is able to probe to the heart of it, as totally respond to many emotions
and feelings associated with every living pulse reads the human existence and investi-
gates the epic of the human rise on that glorious civilized land.
With confidence and certainty, we see the artist goes to build his project “Egypt’s Earth”
relying on sand which he collected and selected from all over the Egyptian desert as
its colors vary from one location to another; its grades also vary in the single color. This
achieves the total interdependence of the whole of the paintings, especially in their inte-
gration and their existing relations with each other, which puts us in front of a huge artistic
work which includes in it a remarkable number of many mosaic units that appear in their
single being as letters in words in sentences that lead us slowly towards the meaning
and the point and give us a very surprising experience with Egypt's dazzling earth in its
places and times and generally in its humanitarian, creative and historical symbols.
The sand appears in its colors and its many plastic formations to demonstrate the di-
versity of the Egyptian folk fabric, and to ensure that this country has symbols that have
no border. However, those who viewed the folds of the artist's paintings can, together,
or even individually, bring in and remember all the names and other eternal characters
that are difficult to erase from the Egyptian conscience or be forgotten, considering the
existence of a national unity that has hardly any similar or analogous state.
The artist's adoption of sand as a basic material for the visual formation in his creative
project seems to be very successful, as the selected plastic structure medium here is
linked to the concept of Egyptian identity that is to be activated to exist through visual
compositions that attract characters, figures and symbols already in the history of mod-
184
the paintings in the desired manner. According to the insights and ideas that were ex-
plored deeply in the concept of renewable life and were chosen from among the inspira-
tions this most expressive element of existence and went to form it in blocks or spaces,
in shapes and perceptions, and within topics that do not only respond to the aesthetics
of the formation and its deep concepts, but also at the same time respond to the glow of
cognitive mind that is able to probe to the heart of it, as totally respond to many emotions
and feelings associated with every living pulse reads the human existence and investi-
gates the epic of the human rise on that glorious civilized land.
With confidence and certainty, we see the artist goes to build his project “Egypt’s Earth”
relying on sand which he collected and selected from all over the Egyptian desert as
its colors vary from one location to another; its grades also vary in the single color. This
achieves the total interdependence of the whole of the paintings, especially in their inte-
gration and their existing relations with each other, which puts us in front of a huge artistic
work which includes in it a remarkable number of many mosaic units that appear in their
single being as letters in words in sentences that lead us slowly towards the meaning
and the point and give us a very surprising experience with Egypt's dazzling earth in its
places and times and generally in its humanitarian, creative and historical symbols.
The sand appears in its colors and its many plastic formations to demonstrate the di-
versity of the Egyptian folk fabric, and to ensure that this country has symbols that have
no border. However, those who viewed the folds of the artist's paintings can, together,
or even individually, bring in and remember all the names and other eternal characters
that are difficult to erase from the Egyptian conscience or be forgotten, considering the
existence of a national unity that has hardly any similar or analogous state.
The artist's adoption of sand as a basic material for the visual formation in his creative
project seems to be very successful, as the selected plastic structure medium here is
linked to the concept of Egyptian identity that is to be activated to exist through visual
compositions that attract characters, figures and symbols already in the history of mod-
184
