Page 103 - FAROUK HOSNY
P. 103
The color paints the space
Colors represent the foundation of the paintings, in
Farouk Hosny’s artwork. As an artist, he is well aware
of the significance of colors, masters their leadership
and invests in their emotional and psychological effects.
Henri Bergson has once described painters, saying “A
painter is a person who uses colors and shapes, he is
sensually aware of them, and what he sees through colors
and shapes of things is their inner life. Little by little, he
indulges them into our minds, and despite the confusion
we feel in the beginning, he tempts us to perform the
same effort to see a part of what he saw as he painted this
artwork.The artist organizes the elements of the artwork
in a way that makes it have a pattern that pulsates with
a life of its own.” Farouk Hosny’s painting has the ability
to generate this sensual perception instead of a mental
perception through a visual structure that depends
on color frequencies making an inner resonance that
moves from the eyes into the feelings and creates more
complex feelings and then a psychological experience
with enjoyable ambiguity.
The artist redraws space relying on the color
dimensions, as the transition from hot to cold colors
gives a sense of movement inward, while controlling the
strength of colors gives an illusion about the distance in
space. The artist took advantage of this color feature in
creating images with areas of varying colors in terms
of their wavelengths, achieving various visual effects
of the dimension of colors, based on the concept of
realizing the value of the color itself without using it
as a way to describe or embodiment the shapes. In his
paintings, he has benefited from the effect of successive
color waves in the image vacuum, and the contrast
of color waves in their intensity and value, especially
when the artist uses oblique colored surfaces that in
turn contributed to creating a special perspective and a
sense of direction toward depth despite the flat nature
of the work. Furthermore, handling the surface through
the movement of shapes in inclination creates a vital
spatial relationship with the rest of the image.
101
Colors represent the foundation of the paintings, in
Farouk Hosny’s artwork. As an artist, he is well aware
of the significance of colors, masters their leadership
and invests in their emotional and psychological effects.
Henri Bergson has once described painters, saying “A
painter is a person who uses colors and shapes, he is
sensually aware of them, and what he sees through colors
and shapes of things is their inner life. Little by little, he
indulges them into our minds, and despite the confusion
we feel in the beginning, he tempts us to perform the
same effort to see a part of what he saw as he painted this
artwork.The artist organizes the elements of the artwork
in a way that makes it have a pattern that pulsates with
a life of its own.” Farouk Hosny’s painting has the ability
to generate this sensual perception instead of a mental
perception through a visual structure that depends
on color frequencies making an inner resonance that
moves from the eyes into the feelings and creates more
complex feelings and then a psychological experience
with enjoyable ambiguity.
The artist redraws space relying on the color
dimensions, as the transition from hot to cold colors
gives a sense of movement inward, while controlling the
strength of colors gives an illusion about the distance in
space. The artist took advantage of this color feature in
creating images with areas of varying colors in terms
of their wavelengths, achieving various visual effects
of the dimension of colors, based on the concept of
realizing the value of the color itself without using it
as a way to describe or embodiment the shapes. In his
paintings, he has benefited from the effect of successive
color waves in the image vacuum, and the contrast
of color waves in their intensity and value, especially
when the artist uses oblique colored surfaces that in
turn contributed to creating a special perspective and a
sense of direction toward depth despite the flat nature
of the work. Furthermore, handling the surface through
the movement of shapes in inclination creates a vital
spatial relationship with the rest of the image.
101
