Ahmed Moursy Teherani artist…
- From the very beginning of 1950s, Moursy’s art limits were colour and space, the purist elements of painting; the perfect boarders for artist, whose mediums are brush and tableau. Whatever said about his symbolic items, it doesn’t deny his ‘ romanticism’ as much as submitting to the other mental issues of literature that depicted in ‘pictures’. In Moursy’s art, the most accurate depiction of external forms, whereas no submission to ‘scope’ just colours and space.
- That obviously demonstrate why neglecting depth of place in his works, you can find nothing but gesture to the innermost vision. Hence, he moves towards ‘the inside picture, not only external view”, where he transport the viewer to more innermost dimensions of love and mercies between people and things, elevating you to the aesthetic horizons of fine arts. ‘Third dimensions’ not occurred for just proficiency in painting, but from colour distribution, diversity, and space. For light, he rarely uses light illusions, he uses it to open aesthetic horizons not to break into colour and space.
- Noteworthy, modern artist no longer compiled with forms’ limits and external measures, another phenomenon that needs no assertion. Whence, modern artist only care for the essence behind external appearance, then depicts deformed monsters to inspire the viewer with strange fine arts aesthetics that unleash human pity upon those deformed, still tragic bodies that stuck to earth, stubborn on life. Facing those stoned faces that suck your emotions for seeing those amputated fleshes, bones, and heads, but still preserving love and life inside it as if it carry hard seeds full of desire and determination on release, leaving our heart stunned, beaten with calamity, depth and delicateness too.
- Thence, Moursy’s art is not just search for style, either it’s romanticism, passion, mercy emotions transport to the viewer through colours and spaces.
Quote, from a long study by:
Edward al-Kharat
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Ahmed Moursy … from Alexandria Sea … to the Shores of Time.
- Artist Ahmed Moursy was born in Alexandria, 1930, that city of light and hope mixed with the water of the Mediterranean Sea. He got bachelor of English language from the Faculty Arts, 1954, then moved to New York to stay there in 1974. In contrary to other immigrants, he never loose his nationality, he stuck to his homeland with heart and mind. Since 1958, Moursy staged many solo exhibitions in Egypt, London, Colombia, New York, and Washington. Currently, his works of art exhibited in huge exhibitions staged at Zamalek Arts Center under auspices of the Ministry of Culture. Among his important publications, (two historical studies concerning fine arts in Egypt and Iraq, ‘Alfa’ magazine, Larousse Publications, Paris, 1975). Also, he participated in laying out ‘the Avant-garde’ magazine 1968, which took important role in developing the Arabic and Egyptian modern movement, in addition to “Mahareeb” poetry divan in Alexandria 1949, “Allura and Argon”, with poet Abdel-Wahab al-Bayaty, Cairo1959. His main artworks among collections art lovers in Egypt, Arab and European countries as well as the Egyptian Modern Art Museum, Alexandria Fine Arts Museum, Cairo Opera House, the Industrial Bank in Kuwait in addition to five logos of Egypt provinces. Moreover, Moursy’s creations flowed to reach the Egyptian theater where he designed stage settings and clothes of “Pharaoh Deterioration” first play directed by Alfred Farag and “Gamila Crisis” first epic by Abdel-Rahman al-Sharkawy. Translated (Deceased’s Revolution” poetry by Qustanten Kafafes, 1970, the American Negro Poetry in English, New York, 1981.
- Ahmed Moursy, unique phenomenon of multi talents, he is drawer, poet, painter, stage setting and clothes designer and graphic artist.
- Meanwhile, with regards of time, chronicle and social differences, ‘Symbolism’ conceded as essential structure of his concepts and human indications assimilated from symbolism of the ancient Egyptian art that based on the sign of notion and creed.
- “It’s just four years we setting together, face to face only separated with two steel desks from the fifties years, belonged to the time of founding the United Nations. Surrounding with the daily routine, exchanging salutes as if we are two auditors at freightage company with vague cargo. Both of us born on marine shores: he in Alexandria and I in Figgie. He never missed any trace at Alexandria of his juvenility, outfitted in legend dress at Lawrence Darryl quadruple that I read in my primary years. But, when he canvassing Manhattan old streets, specifically Bawery district, creating his poems, sketching its beaches in mind, he said he felt as if he was roving the streets of his Alexandria where he was born” said Alfonso Armada, reporter at ABC Spanish newspaper in New York.
- Armadas words turned my attention to how much Moursy’s soul coupled to his place of born Alexandria. Which reminds me with a fine expression about artist’s anamnesis in debate with artist Farouk Hosni concerning one of his acquisitive tableaus by artist Ingers (1780-1867). He said, “by looking at this tableau I imagine it for the French artist David (1748-1825)”, this indicates how much optical culture prevailed in artist’s mind, unless there is difference between Ingers and David styles. Yearning to homeland is the main indication of artist’s originality; he is rooted to home regardless of time and place. Alfonso said (artistic schools are nothing but pins over butterfly wings, we use those schools as exit cards, not to rove in the mind of surrealism, symbolism, expressionism. If the Egyptian soul existed, it would be read at Ahmed Moursy Tableaux…).
Prof. Dr. Ahmed Nawar.
Al-Mosawer magazine, February 2003. |
