Page 105 - FAROUK HOSNY
P. 105
ew principle of movement
Throughout art’s history, the artist’s passion to depict
movement with various methods to break the silence of
paintings, which is also demonstrated in Farouk Hosny’s
paintings, does not depend on visualising the movement
of realistic elements, however, it mainly consists of the
movement of the artist’s touches, their directions and the
varied line movement: broken, curved or intermittent in
a staggered linear mesh resulting from the successive
scratching of the depicted surface, as he principally
depends on the movement resulting from the shape’s
components. Farouk Hosny’s artwork always involves
constant movement, along with a significant speed in
capturing the appropriate path for color and shapes, as
his hand responds to the the desire of pursuit of the
artist’s dream, there is no place for hesitation, otherwise
the feeling will fade away and the color shall lose its
energy and aggression. The artist’s performance relies
to a great extent on the activity of his movement which
materialize through the large and fast strokes and
lines on the colored surface. Thus, the visual space in
Farouk’s paintings result from “the skilled action of the
artist” producing spaces of colors carrying numerous
significance and the magnificent use of lines and
interrupted strokes. While large strokes are transformed
into boisterous and lively shapes, and as recipients, we
shall receive this myriad of emotions with the same
level of emotions to be on the same page with the artist.
Even though the artist Farouk Hosny possesses this
level of emotional breakout that allows his shape
structures to fastly occupy the visual surface, yet his
paintings are not only spontaneous shape structures that
reflect the impacts of expertise and practice, they are
the fruit of a long contemplation and the demonstration
of a significant accumulation of visuals ,visualization
and recreation of what he has previously contemplated.
103
Throughout art’s history, the artist’s passion to depict
movement with various methods to break the silence of
paintings, which is also demonstrated in Farouk Hosny’s
paintings, does not depend on visualising the movement
of realistic elements, however, it mainly consists of the
movement of the artist’s touches, their directions and the
varied line movement: broken, curved or intermittent in
a staggered linear mesh resulting from the successive
scratching of the depicted surface, as he principally
depends on the movement resulting from the shape’s
components. Farouk Hosny’s artwork always involves
constant movement, along with a significant speed in
capturing the appropriate path for color and shapes, as
his hand responds to the the desire of pursuit of the
artist’s dream, there is no place for hesitation, otherwise
the feeling will fade away and the color shall lose its
energy and aggression. The artist’s performance relies
to a great extent on the activity of his movement which
materialize through the large and fast strokes and
lines on the colored surface. Thus, the visual space in
Farouk’s paintings result from “the skilled action of the
artist” producing spaces of colors carrying numerous
significance and the magnificent use of lines and
interrupted strokes. While large strokes are transformed
into boisterous and lively shapes, and as recipients, we
shall receive this myriad of emotions with the same
level of emotions to be on the same page with the artist.
Even though the artist Farouk Hosny possesses this
level of emotional breakout that allows his shape
structures to fastly occupy the visual surface, yet his
paintings are not only spontaneous shape structures that
reflect the impacts of expertise and practice, they are
the fruit of a long contemplation and the demonstration
of a significant accumulation of visuals ,visualization
and recreation of what he has previously contemplated.
103
