-Drilling art is the only among arts which does not deceive among arts….It is primitive before history and even mankind.
Egyptian artist `Magdy Qenawy` lived the experience of Drilling with all its dimensions , till it had its roots in him so that white paper can get rid of its whitnessthat is dull, neurtal and pure.
-Artist Magdy`s experience became more firm when it was displayed to audience through his works in `Ghader Gallery`. We will not find any hardships in sailing behind ambiguous lines of emotions which is wrapped tn the works of `Qenawy`. Since it is here engraved and pulsing with sentiments of historic manuscripts, embroidered with carefully scattered gold, and plunging into triangles and squares; as he found a way to establish the idea, propose the philosophy of colors and line in a worldly frame with astronomical sentiments, and approaching to the ambiguous world of the unkown.
-In another moment artist Magdy Qenawy takes us to a charming world wrapped with silence and surprise so that his infinite trust transforms us by his creativity to a new artistic experience which swings between Arabic letters and Islamic decorations. And you may stand dazzeled before a primitive inscription on walls of a cave overwhelmed by memory.
-If metals rust has its own aesthetic language, Artist Magdy Qenawy has turned it to a colorific song inlaid with his creativity, and confirms his persistence on flying behind the worlds of mythology.
-Green Oxides, red rust and arteries of earth pulsing with eternity and existence are coming from angles, lines and areas of `Qenawy` to give us an art that comes with astronomical and spiritual mathematics away from stumbling and random; playing with symbol when he listens carefully to the predictions of paper and ink.
Ghadir Gallery
He designs precise abstractive forms within squares and rectangles which are vertical and of even dimensions containing colored and watery gears, and sometimes integrating with papers of gold.
He takes us in a long journey in time and place from the Arab Medieval ages to the age of Italian Renaissance, and from renewing structure to forming letters which is the beginning of Imaginary Art.
All this seems a unite unified in the whole synchronization of each work. The real motivation of innovation- which increases with the increase of works- between each
Painting and the other comes from the vividness of inspiration through a wide bow including various cultures from India to Urbino.
Qenawy in each work combines East and West, but these terms can only be relatively discovered. He rushes from Mandalla and exceeding contemplations to secret symbols which attracts intellect and emotions, till he became an essential part of objects to reach the classical prospect through all this; the thing that shows him as Urbinaty just as he is Egyptian.
Yet Qenawy in all this; Flowing and strong vividness of mathematical formations, and sever and condensed spirituality of his art, presents values of non-asymmetric, denial, and anxiety of the contemporary era.
Julio Montenero
Al Becolo de Trista
6th of April 1980
Actually a single mark in his paintings makes a part of symbol, honoring gestures of hieroglyphics, and variety of dance-hand dance-which accompanies and determines this mysterious alphabet; once pointing to cosmetic contents and another to wild geometrical explanation. Elements that Qenawy paints swim lightly in the space of paper, and cannot be captivated since weight and reality disappears and replaced by icons and symbols of spiritual contemplations which he combines in syllables of unreadable writing, or organizes in squares, rectangles, circles, small golden inlaid, and suitable marks of no air; as if it was a deliberate drilling on the smooth surface of the object.
Floriano de Santee
Bricha Ogy
72th of Januray 1979
Qenawy`s production is rich due to his ability of creativity which enables him to invent new structural installations of his artistic formations. He takes us through time searching for the roots of inspiration, which is in his favor. We find a mind that does not want to refuse the cultural heritage which inspires him, but he also presents a modern and creative dialogue.
Thust it would be spontaneous to connect the works of Qenawy -rich with precise fine elements of installation- with the works of complete design which dominates the formation of space in carpets and the formation of place in the holy Islamic architecture.
Carlo Mello
messaggero veneto
21st of Febreuary 1980 |
