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Homeland.. a story of passion |  Gulf newspaper

Homeland.. a story of passion | Gulf newspaper

Sharjah: Osman Hassan

The march of Emirati formation has been chronicled by many names who were inspired by the theme of the homeland in many works of art that deserve to be considered. Among the many artistic schools and trends, it started, of course, from the classical painting, or the Musnad, passing through the experiments that were affected by the concepts of modernity and contemporary.

The artist, Dr. Mohamed Youssef, talks about the importance of heritage in Emirati plastic art as a theme of pride in the national identity. In this context, Dr. Youssef with his first artistic projects through which he was inspired by the vocabulary of the Emirati heritage, especially in his sculptural experience, where he presented in this field a lot of experiments that presented, as described by many critics, a balanced artistic formula, and this balance stemmed from environmental components and popular memory, and Muhammad had previously Youssef confirmed in many dialogues that his understanding of heritage stems from his belief that creatures exist in a way that complements each other, and he interacts with the components of nature, talks with them, dances with them, and feels their pain and pain, and among these components, there is water, and there are trees, and there is spontaneity and simplicity It intersects with its simplicity and spontaneity, as he says: “I do not believe in personification, but I present natural sculptures from the environment, including its trees, branches, and leaves.” Based on these values, Youssef affirms his belief in the innateness and spontaneity of art.. On the level of his personal experience that interacted with the concept of identity and heritage, he indicates This indicates his interest in designing artistic installations of objects and elements of nature and the environment, for example the painting “Women Go to a Wedding” and other sculptures that he designed from trees, leaves, branches, ropes and wastes of the Emirati environment, and reflect his understanding of the heritage, where the homeland is present and Prepare the story and the story in a simple artistic and cultural container, far from complexity or exaggeration.

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And completes d. Muhammad Youssef, speaking with reference to a group of projects he is working on at the College of Fine Arts and Design at the University of Sharjah, and involving students in drawing inspiration from the Emirati heritage from its various aspects, which are special projects of several vocabulary and components such as textiles, printing, and other themes of the local environment, in cooperation with the Sharjah Institute for heritage.

The concept of identity

In this context, the plastic artist Hoda Saif talks about this issue through many experiences that focused on highlighting the homeland and the Emirati identity. It is concerned with photographic recording, where each country has its own dealings with this artistic direction. In the Emirates, many plastic artists expressed each one of them’s concept of the homeland through their use of materials found in the Emirati environment, such as Sidr trees, palm trees, Ghaf, and the almond tree. Saif says: “The The stories and tales that are told through this art are local Emirati stories that Emirati artists worked on, each according to his style or artistic direction.

Huda Saif confirms that these preoccupations are an integral part of the Emirati experience, which reflected the concepts of heritage as part of the Emirati national identity in many works, and by projecting psychological and social concepts that interacted with the desert and the city at the same time.

Wijdan

In turn, the artist Khalil Abdel Wahed confirms that the concept of the homeland has been reflected in many Emirati artistic experiences through different artistic schools and trends. He used the vocabulary of the door and the window, and there are Ibrahim Al-Awadi, Faisal Abdel-Qader and others who are considered to be of the classical school, and there are those who turned to modern art and were inspired by the environment and vocabulary of the Emirati heritage within the idea of ​​art through works and installations affiliated with conceptual or contemporary art, and with regard to his personal experience, Khalil Abdel spoke Al-Wahed is about the experience of “the artist’s tools”, which is a project he started years ago, and was commissioned exclusively by the Abu Dhabi Festival 2016. This project – perhaps for the first time in the history of the Emirates – documents the artist’s tools of inks, feathers and knives, and these tools for Khalil Abdel Wahed represent an integral part From the memory of the artist and his creative work.

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Regarding the relationship of these tools to the issue of homeland and identity, Khalil Abdel Wahed stressed that all the artist’s things are part of his history and part of his heritage, and in his tracking of the tools of many artists, he explained that many of their works tell about events, occasions and inspiring stories in the experience of each one of them, and that despite Their different artistic tendencies embodied different themes from the forms of heritage, and the “artist’s tools,” as Halil Abdel Wahed describes it, is a work that works on the artist’s archive, as this archive is an integral part of the artist’s emotional and psychological state, and if you trace these tools, you may find the artist’s clothes. And his things, such as the “kandoora” or any other heritage tools, represent his history, his memory, and the moment he was engaged in the embodiment of works belonging to different schools. Focuses on the hidden side of the artist’s history or biography.

This work began, as Khalil Abdel Wahed confirms, in the Sharjah Art Museum with the tools of 17 artists who were present in Beit Al Shamsi, several years ago. Themes and topics belonging to the Emirati heritage in one way or another.

innovative formulas

The artist, Kholoud Al-Jabri, said: “I have a great passion for old buildings, folkloric clothes, ancient jewelry, and everything related to folklore. When I started in the eighties, I started from the conviction that I should present the topic of heritage in innovative formats and in a contemporary spirit far from stereotypes, and far from the realistic or photographic image.” .

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And she continues: «I turned to surrealist painting in my dealings with heritage symbols, and presented a different vision than the prevailing in dealing with the subject of heritage, and my posts in the GCC countries presented the themes of heritage and identity in an innovative manner and I always won first or second place for three consecutive years». .

Al-Jabri talks about her subsequent work, saying: “After that, I employed heritage, especially Emirati fashion, using collage. Villa 88 chose me to present works that are in line with modern technology, and to be displayed on a global level. Indeed, it highlighted the heritage of Emirati women in modern forms and a different vision that is in line with Contemporary».

Al-Jabri gives an example of one of her paintings that she painted on the occasion of the founding of “Friends of Art” at the Abu Dhabi Cultural Foundation, whose theme was Emirati carpets. constitute an obstacle that restricts their freedom or release.
Presence

At all stages, the country was present to the artist, with its traditional features, which found its purpose in the components of the environment, and what it includes of sea and land. The viewer or recipient, Emirati and Arab, came into contact with a great artistic experience in the ideas and visions it presents, and in what it was able to It reflects shifts in the level of artistic workmanship.