Color is the basis of the art of painting; it is the essence and soul of all work. Color is the son of light and sight. Its body is substance and its inner soul is light.
Color is the vibration of dye shades and gradations of what the eye or hand perceive. Its glow is a shadow and a glitter of emotion in the marvels of creation.
The balance between considering the color light and itself being a substance from the sources of the earth, plants and blood, is the mother cause of my main aesthetic attempts as a painter. As for the complementary side concerns faced in the game of mixing, gradations, balance, harmony, contradiction, unity and control, they are nothing except necessary professional skills that I use to obtain majestic aesthetic dominance, emptying out my feelings in creation to attain fertile ends.
Color is the glow of emotion that emanates, in principle, from the work of imagination stemming from deep pondering of nature in its changes and states affected by the quality of light, the alteration of days and seasons and the changing of climates. This glow sees the light embodied in my decision of choosing the first shades of dye, the quality of the coloring substance and its location on my palette.
This decision in color choice is a nucleus giving birth to all color repercussions. What my hand chooses determines the fate of colors on untouched white surfaces. Hence, it controls the birth of artistic work and its characteristics.
This choice of the quality of colors may seem random at first, though in fact, it is a small twist in the directions that the process of creation takes in plastic arts. As for the rest of the aesthetic repercussions, they are the upshot of this picky choice, for it is a problematic cause controlled by the taste and mood of the coloring artist; it is also linked to his cultural background and the characteristics of its civilizational roots.
I am a Lebanese artist. I was born and raised in the country of light. I grew up in the arms of its nature between earthy colors, green fields and yellow-purple meadows. My eyes wandered in the skies of its white and blue space, in a vast endless horizon. I lived, in my imagination, mind and subconscious, in the abundance of these colored lights, which created this apparent diversity in my palette, my paintings and my life. I am an artist, the son of his destiny, entourage, nature, culture, civilization, authenticity and choices. For this reason, I chose my job and I am in it alone. I try to incarnate myself in its naked truth and I soar higher and higher to deliver the interpretations and meanings behind my aesthetic messages; for my own benefit first and second, to all the people who observe and analyze my job. This track of diversification, change and trial in color evolution and artistic cases in its research and methods is the outcome of the inevitable artistic cultural heritage. Therefore, it is the conviction of a voluntary decision stemming from these considerations and effects of capacities.
Color is the womb and bosom of the true meaning. It is the framework breeding visions and artistic thinking in the sea of compositional repercussions.
Color is the dress of shapes and substances and their textures. It is the magic attached to the bodies and souls of artistic work. It is the swing and playground of images. It is a monologue with homeless melodies roaming in profound dreamy horizons. It is the blood and flesh and veins of lines and spaces. Yes, this is how color sits on the throne of my artistic work in its frequencies and profound awakening meanings to calm my delicate feelings. For this, it is my daily bread, in the bakery of art, and the solution for dilemmas no matter where they originate from.
Color in itself is a state. Its transformations are the fruits of different mixes and gradations and formulation using creative tools, techniques and experiments unique to each creative hand that touches a color and is familiar with its vocabulary in the vast dictionary of art.
Color is a state. Technique defines its final figure; technique combined with the language of touches and shapes felt with the hands and eyes and it cannot be separated from the repercussions of the techniques of an expert hand through its tools: frequencies, accumulations, undulations, scrabbles, gradations, dotting, paint-brushing, lining, brushing, dripping, straightening, thickening, drying, polishing, dimming, alienating, massaging, defining, refining, removing and erasing; all that intertwines to incarnate the body and soul of the color turning it into different beautiful aesthetic states impossible to replicate or clone even if just for one time because it is the outcome of a unique creative moment.
Color is a visible materialistic means in the scopes of whiteness and a desert that designed it. It is the creative incarnation of the remnants of the hand and its actions and the backgrounds of the brain and heart and their repercussions. Through color, I epitomize human and aesthetic topics. Their frequencies, codes and implications inspire the meaning I give to artistic goals and final objectives. When color takes over meaning and goal, they become in utter harmony; and sometimes, color interferes with problems and subjects, so it helps show aesthetic goals with honesty and integrity. There are no differences in my visual work between color as a means or a goal. They are twins helping each other to unify in the paths of creation so their mix breeds magical authentic work.
I treat color according to my mood and the different artistic genres and their stages. Each type has its time to be created and conditions to be tested, researched and attained, then picturing its apparent style:
In flat visualization on canvas, wood, cardboard or paper, color is the master of white spaces; it presides over all the work, free, emancipated, variant in its layers and gradations, in the intensity of its symbols and meanings, also in the honesty of its goals and aspirations. As for coloring a masterpiece with protrusions like a sculpted painting, modeled canvas and structured or assembled work, color becomes a helping element, relatively limited to the specific significance, goals and characteristics every work may hold. Here, in this case, the color is either monochromatic in its singularity yet reproductive due to gradations, values and the effect of light in shading its visible or invisible areas and shapes unique to each work, or it could be diverse and help find the required aesthetic results in order to crystallize artistic work of considerable sizes.
In both cases, the dialogue with colors differs depending on the origins, types and conditions and considering the main effects of each on the desired goals and aspirations. My dialogue with my colors is subjected, firstly and lastly, to insane mood swings that emanate from the recurrences of profound reverberations and calls of daydreaming and those of the subconscious. Dreams and imaginations recall the path of a life full of reflections from the observed and felt entourage; they seep into a heart and a mind that have a unique expression.
Over time, the different color directions of my visual experiments led to inevitable repercussions in their sculptural ones.
My immersion in the game of colors and its magic drove me, since my artistic beginnings, to new choices in sculpting; choices of which I adopted the styles using color to render it a crucial element in formulating volumes and enriching their ambiances. For this reason, I worked with ceramic, an art that imposes pottery-like volumes, ivory colors and oxides of metal. Fire fuses it and makes its presence, which is attached to the structure of visible and invisible volumes, apparent. In addition to that, I chose my colored stones and rocks, naturally, with their geologic layers, and I tried hard to emphasize the color and make use of it so it guides me to the adequate shape regarding the sculptural requirement of my own artistic work.
These research attempts created in me a new perception, so I came up with a unique style in sculpting different from the traditional ones that depend fundamentally on shape creation in a substance without paying attention to its color. This connection between the color and its volume, as well as their harmony led to the creation of solutions and problems within the same substance that matched my artistic experiments at both painting and sculpting levels; this is a characteristic unique to me in my fine arts’ experiments. This mating between the colors of the sculpting substances and the shapes stemming from them created a series of creative work that contributed in discovering a twist of style that was able to bring the differences of the arts of painting and sculpting closer; it helped bridge the gap between the shape and its color. It also created solutions that made the color unite in harmony with the body of its shape in all its sizes.
The positive motion of this harmony stemming from research and experiments, which dominated, in principle, most of my artistic work enriched my aesthetic language, so it interacted due to its changes in two opposite directions: between what comes from the world of dye and colors and what stems from the womb of stones and shapes. This issue forced me to use both of my personalities; that of a painter and that of a sculptor. If it weren’t for this, the importance of the problematic related to creating a colored sculpture would have disappeared.
