YASIN AL-MARMADAWI AT DAR AL-MASHREQ GALLERY

VISIONS EMANATING FROM THE WORLD OF CHILDREN AND REFORMED IN THE LANGUAGE OF THE ELDERLY!
THE FORMATIVE ARTIST YASIN AL-MAHMADAWI USES LINEAR DRAWINGS OF TOUCHES AND INDICATIONS EXPLAIN HIS VISIBLE CREATIVE WORKS THAT COULD BE SEEN AT HIS EXHIBITION HELD AT “DAR AL-MASHREQ GALLERY” IN SHEMEISANI/ISSAM AJLOUNI STREET. 
THIS XHIBITION IS HELD AFTER A SERIES OF MEETINGS BETWEEN THE ARTIST AND THE PUBLIC IN MORE THAN ARABIAN CAPITAL DAMASCUS/ASHTAR HALL 1998, THEN CAIRO AT AZAH FAHMI GALLERY BEFORE SHIFTING TO KENYA AT THE END OF THIS YEAR

 HIS ARTISTIC MARCH BEGAN SOON AFTER DISCOVERY OF HIS DISTINGUISHED TALENT IN PAINTING AND PHOTOGRAPHY AFTER WINNING THE FIRST PRIZE IN ANNUAL COMPREHENSIVE EXHIBITION IN 1983 WHICH INCLUDED A SCHOLARSHIP TO CARRY ON HIS ARTISTIC RESEARCH IN ITALY. THEN HE HAS JOINED THE “CARDIFF” COLLEGE AT WALES UNIVERSITY CARRYING ALL HIS ARTISTIC AND CIVIC HERITAGE WITH HIM, TILL HE HAS COMPLETED HIS ARTS STUDY IN ENGLAND, LEAVING BEHIND AN ARTISTIC AND PERSONAL IMPRESSION AFTER THREE EXHIBITIONS IN THE IRAQI CULTURAL CENTER AT LONDON AND WALES UNIVERSITY . THEN HE HAS RETURNED TO BAGHDAD WHERE HE HAS WORKED AS TEACHER AT THE FORMATIVE ARTS DEPARTMENT IN THE FINE ARTS INSTITUTE DURING THE PERIOD 1990—1995.
INSIDE / OUTSIDE THE PAINTING
IT IS POSSIBLE TO DISCOVER MANY SECRETS OF YASIN AL-MAHMADWI PAINTING JUST BY A LOOK THROUGH THE COMPLETED PAINTING. THERE IS AN ABILITY TO EXPLAIN THE SOCIAL CHANGE IN ALL ITS CIVIC AND HUMAN CONCEPTIONS SUCH AS DEVELOPMENT, INFORMATIVE AND SCIENTIFIC PROGRESS ... ETC, ALL THIS WILL LEAD TO COMPLICATE THE AESTHETIC STRUCTURE AND ITS COMPONENTS. BUT, WHEN WE TRY TO TAKE AWAY OUR VISION FROM THE INTERACTING SQUARES OF THE PAINTING OR THE SUCCESSIVE OR VERTICAL ONES WHICH HAS ANY GEOMETRICAL VALUE, WE CAN FIND OUT THE VISION AND IMAGINATION OF THE ARTIST COMING FROM THE WORLD OF CHILDREN AND THEIR SKETCHES, EVEN TO EXPLORE THE ARTISTIC / THOUGHT INDICATION THAT HE DESIRES.
TO EXPLAIN THAT, WE HAVE TO SAY THAT PAINTINGS OF AL—MAHMADAWI EXHIBITED AT DAR AL-MASHREQ, ARE BASED ON VARIOUS DRAWINGS, BASICALLY “ WHAT WE SEE WHEN THE CHILD DRAWS”! WhILE THE PAINTER RESORTS TO REFORMATION, IMAGINATION AND THINK IN THE LANGUAGE OF THE ELDERLY: SUCH AS ALLYING TO COLOURED AESTHETICS OR SERIAL EVENTS THAT HE REPRODUCES IN GROUPS EATING EACH OTHER WITH A VISION MOVEMENT ITS ONLY FIRST AND FINAL AXIS IS : THE SQUARE THAT HAS THE FIRST DRAWING, THEN THE SECOND AND THE THIRD WO BE SAME TO THE VIEWER / CRITIC. HOW MANY SQUARES WERE IN THE VISION, OR VIEW HORIZONTALLY THE ON LOOKERS, BUT THE TRUTH THAT THE PAINTING AT ANY DISTANCE OF VIEW BECOMES ADHERENT ENTITY AND FORMATION, HAS A COLLECTIVE UNITY OF ALL DRAWING TYPES OF CHILDHOOD, BUT IN THE EYES OF THE ARTIST WHO INCLUDES ALL THE SOCIAL FAMILY INSIDE AND OUTSIDE THE PICTURE. WHILE HE OBSERVES THE COLOUR OF EARTH OR THE SEA OR THE COUNTRY SIDE WHICH LEAD TO SARCASM FROM THE ACTUALITY, THEREFORE SEEING WHAT HE HAS OF EXTRAS IN THE DRAWINGS.


CONCENTRATION OR REPETITION

FACES OF CHILDREN FROM ARAB ENVIRONMENTS. JORDANIAN, IRAQI, EGYPTIAN AND ALSO WESTERN FEATURES: CARTS, HORSES AND COWS, TREES, FLOWERS, VASES AND HATS LIKE ARCHEOLOGICAL FINDINGS. HIS SYMBOLS, DREAMS AND WRITINGS ALL WERE PRESENT IN THE PAINTING, WITHOUT CONCENTRATION, IN SEARCH OF STABILITY THATHE FINDS IN REPETITION. IN THE SAME PAINTING, WE FIND A LOT RELATIONS BETWEEN THE MOTHER AND THE CHILD, THE WOMAN AND MAN, THE FARMER AND THE COW. WE SEE HIM REPEAT THE SURPRISE OF THE WORLD AROUND HIM AND SUCH TYPE OF DRAWING, ABSENCE OF STABILITY IN DIRECTION INSIDE EACH SQUARE ... MAKES THE ARTIST IN NEED FOR A QUANTITY OF LINES AND LARGE SPACES THAT WE CAN COLOUR TOGETHER IN THE SAME MANNER AS HE HAS COLOURED THE SECRET DRAWINGS OF CHILDREN.
 

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