Page 113 - FAROUK HOSNY
P. 113
The prominent Egyptian artist Farouk Hosny is still producing with significant
solvency his free worlds of art with a clear bias to shape language and its solid
capabilities to give and present. Even though the current painting experience of the
artist may seem in an hyle phase in which he presents the primary form of the topic
before elements make up their shape , however, elements have started to have a
primary shape in this hyle phase consisting of color and line structures that reflect
the ongoing debate about the relation between the artist and his art composants
and their ability of shape in line with his imagination.We can find this controversy
illustrated in a substance that remained anonymous in bursts of pure absolute color
and stray lines and between structures that began to form to take a picture or a sign,
in an effect similar to the strength of nature in its will and action. In addition to a solid
realization of structure mechanisms and the possession of a significant energy and
an ability to pursue the adventure of achieving a painting without a previous plan,
and to mobilize the structural energy needed to compose a comprehensive artwork.
Hence, Farouk Hosny presents abstract scenes in a hyle form as their elements are
in the process of shaping without feeling the urge to complete it or achieve it in the
form of known shapes.
To fall for the trap of interpretation
Farouk Hosny’s artwork clearly demonstrates abstract
artwork reception and critique. As we fall in the trap
of interpretation when we shift from shape language to
writing, if some people believe that poetry cannot be
translated to other languages to prevent the distortion
of the poetic beauty in the original languages then this
shall also apply to shifting between the visual language
and writing. Subsequently, we cannot avoid falling for
this trap as we intervene in the relation between the artist
and his artwork. The German philosopher Gadamer
has stressed that “the artist transforms his existential
experience through shape language into a constant
deliverable for the generations to come”. This artwork
111
solvency his free worlds of art with a clear bias to shape language and its solid
capabilities to give and present. Even though the current painting experience of the
artist may seem in an hyle phase in which he presents the primary form of the topic
before elements make up their shape , however, elements have started to have a
primary shape in this hyle phase consisting of color and line structures that reflect
the ongoing debate about the relation between the artist and his art composants
and their ability of shape in line with his imagination.We can find this controversy
illustrated in a substance that remained anonymous in bursts of pure absolute color
and stray lines and between structures that began to form to take a picture or a sign,
in an effect similar to the strength of nature in its will and action. In addition to a solid
realization of structure mechanisms and the possession of a significant energy and
an ability to pursue the adventure of achieving a painting without a previous plan,
and to mobilize the structural energy needed to compose a comprehensive artwork.
Hence, Farouk Hosny presents abstract scenes in a hyle form as their elements are
in the process of shaping without feeling the urge to complete it or achieve it in the
form of known shapes.
To fall for the trap of interpretation
Farouk Hosny’s artwork clearly demonstrates abstract
artwork reception and critique. As we fall in the trap
of interpretation when we shift from shape language to
writing, if some people believe that poetry cannot be
translated to other languages to prevent the distortion
of the poetic beauty in the original languages then this
shall also apply to shifting between the visual language
and writing. Subsequently, we cannot avoid falling for
this trap as we intervene in the relation between the artist
and his artwork. The German philosopher Gadamer
has stressed that “the artist transforms his existential
experience through shape language into a constant
deliverable for the generations to come”. This artwork
111
