Contemplating eastern concepts condenses and incorporates sceneries into an old iconic form; packed with sacred motifs and emblems constituting the work of art. This concept confirms the interactive and conversing narrative characteristic that takes numerous sensual, realistic and abstract geometric forms, swinging between the peripheral and inner dimensions of impressionist formation and art work structure. The interaction between plastic arts components incorporates the essential characteristics of expression, forming my simplification order based on insignia that combines narration with expression.

By George Fikry (October 2007)

Image by George FikryThis activity aims at motivating the various levels of expression. Constantly, I am in a high and low search for feelings wishing a new birth, feelings expressing me and are expressed by me.

Owning the metaphoric presence of signs, symbols and elements constitute the existentiality of my recollections, memory of locations and instances. These factors interact only to multiply, bind and repel…. Massively, forming walls of paintings enclosing existence, holding ideological, constructive and sociological dimensions related to the Egyptian cultural heritage. The Egyptian sociological, economic and political variables blend forming our new social reality on the walls. Combining the contradicting analytic stability and change, dynamic and static, individuality and collectiveness, voluntary and involuntary unity with others. To me, realities and values, materialism and idealism and other diverse social values and relations represent a re-reading and re-formation of Egyptian life figures and styles.

The philosophical and contemplative impressions impose their presence to document the conscious and unconscious sensations related to the morphological image. My drawing is always a further quest for innovated means of relating the thoughts and feelings; rendering them a visual life that relates to the spectators arousing their own self.

My perpetual commitment to the formation of symbolic, spiritual, variable and transformational vision surpasses diagnostic calibrations, supersedes mental and sensual interpretations to constitute a creative experience.

Freedom is the stimulus coloring the visual, formational and performance readings thus summoning the elements to the walls. Freedom spurs the spiritual, sensual and symbolic elements, driving a dialogue that leads the path for discovering new means for inspiring and reforming all inputs to create the scenery.

Ideological and Philosophical Indications:

My quest represents an attempt to depict the social and cultural variables always seeking the contemporary cultural and popular identity. Expressing the Egyptian originality through an experimental search for elements of historic continuity is one of my fundamental goals.

A search for means to convey the contemporary philosophical indications for outlining the psychological constituents of the Egyptian identity. Through historic and cultural heritage the search extends, followed by an attempt to interrelate, converse and communicate socially and culturally to introduce the conceptual model of the Egyptian contemporary society.

The controversial combination of traditional art and experimental spirit, past and present render a pursuit for visual and philosophical reading into my surroundings, individual and collective experiences. Individual analyses mainly represent the source guiding my start, entry and exit signal constituting the creative experience and the art work.

Narrative and Expressive Indications:

Narrating the idea through expressive personage or suggestive elements of the various forms, distances and space constitute my expressive spirit. The compliance of these elements or their contradiction depicts the versatile and suggestive narration. Meanings seeking memories, emotions or symbolic interpretations expressively narrate and tell the tale to spectators. Arabic calligraphy, photographs or sound materials may be used along with the numerous media of expressions.

In my work, I revolt constant performance mechanisms; attempting to recreate concepts always guided by the search soul, exploring the various means to narrate the scene through time and future perspectives.

An uncalculated adventure, discarding conceptual beauty and timing to extend to reach new results. My creation experience is distinguished for its research and analytic strive that rises above success or failure to live in the search.

Contemplating eastern concepts condenses and incorporates sceneries into an old iconic form; packed with sacred motifs and emblems constituting the work of art. This concept confirms the interactive and conversing narrative characteristic that takes numerous sensual, realistic and abstract geometric forms, swinging between the peripheral and inner dimensions of impressionist formation and art work structure. The interaction between plastic arts components incorporates the essential characteristics of expression, forming my simplification order based on insignia that combines narration with expression. This assist me to handle the scenario of progressive narration within the scene through the dialogue conducted between narrative nostalgia and emotions originating from past memories and summoning of present variables within an antonymic space, crisscrossing and connected along the narrative strategy of my selection.

Subject and Time Indications:

The art work idea initiates through influences of previous projects of mine. During installation, I depend on the sole scene idea with its various construction and mantling details, utilizing the spaces and voids that allow viewing the scene from different angles for wall drawings or paintings. Simulating the Trilogy Room Project (1997 – 2003), a project inspired by the artistic and cultural heritage of wall drawings and large paintings of ancient, primitive and iconic nature. The work was inspired by ancient Egyptian, Coptic, Islamic and Egyptian popular symbols. Utilizing the materials and tools based on the inherited approaches, e.g. the ancient Egyptian\'s use of oxides, wall colors, a technique that was maintained through the Coptic era, fourth century until the eighth century. This method developed throughout Islamic arts following the functional role of its utilization to take abstract and geometric shapes, e.g. gold plating.

In this presentation, I derive the philosophical, cultural and variable axils imbedded in contemporary sociological components of the Egyptian heritage. I adopt the same concept on handling scenes construction e.g. the human relationship between men and women or on depicting human and social behavior while expressing some objective eastern visions.

The physical possibilities of persons and objects drawn and delineating the relationships among them represents a different understanding of the values reflected by the various sociological conditions, emotions and expressions within the scene. These persons, objects or creatures may be personified in the form of comic characters, clowns, kings, queens, riff raffs, miserable, saints, savages, sage, transformed beings, etc. They may be present within the scene's peripheral or may be suggestive figures created through the direct experience as occurring through social relations and street life experiences. The alley, reminiscing old places, interaction between different social classes also color my creation experience. All these represent an endless inspiration expressing my personal experience together with the collective social experience in the framework of a conversing interactive and dynamic relationship.


Mythical and Ritual Indications:

Image by George FikryThe iconic feature is manifested in most of the compositions, e.g. contemplation, suggestion, silence, intellectual and mental conversing, sacred, vertical and horizontal sections as well as the place and time combinations. This logic is parallel to the tangible elements representing an analogy between the body and the soul. This perception correlates with the mythical or ritual concepts charging the Egyptian popular culture.

Old icons and Islamic ornamented miniatures are all illustrated within the traits of the Egyptian character, rituals; social and popular customs are the main drive for the contemporary Egyptian person. Folklore constitutes a part of human heritage; as it represents the customs and the memory of the people. Pharonic art depicts the knight mounting his horse, stabbing evil, represented in "Set". This knight skips to Coptic icons, as Saint George fights the dragon, signifying satin. The knight then leaps to popular art where he is Abu Zeid El Hellaly, and also the Zeir Salem, both defying evil. The myth of the knight still lives today, always taking new forms from one era to the other, following the variable ideological and social contexts. The myth may veil only to reappear impersonated in new synonyms, spoken in innovated terms.

In this work, the myth stems from contemporary reality reflecting the tension, silence, momentary agitation, and search for the truth. These harmonious implications are saturated with clarity, notions and spiritual proposition that motivate the ritual concept.

Metaphoric levels diminish or conceal the forms; one overlaps the other, rendering an iconic description that flows from symbolic instigation. Popular tales, jokes and epics are all sources of interactive expression that formulate diversified handling of contemporary Egyptian variables. Contradiction and consistency being the soul of cultural discourse carry numerous indications that enrich the experimental artistic experience.

Performance and Technique:

Collage, charcoal, pastille, pastes, colored dyes, stickers, comport, repetitions, vertical and horizontal intersections together with the various installations, constructions and all constituents used strive to form the visual scenery. These elements stimulate me even before I start the creation experience.

Interaction, entanglement and conformity of shape within the scene are a dynamic force spurring the innate spiritual capacities. Unleashing artistic notions and their reconstruction according to a new mechanism allow narration to run free and permits intellectual correlations that feed on recollection. These wild thoughts blend to be channeled to constitute the main impressions and scene inputs. Media represents the freedom of expression as well as the ability to touch the different forms objectively and expressively. Three dimensional media confirms the work interrelation, gathering the part with the whole, the physical and intellectual, geometric and organic, mobile and static, and the black and white. All these plastic forms mobilizes the scenery angles and perspectives allowing setting the implementation perspective, e.g. tones of each color, techniques, graphic impressions, use of wavering viewing perspectives, e.g. bird eye angle, mobile artificial light angles. This also instigates the use of one color like the black and its gray monochromic derivatives constituting the sceneographic unity that panoramically reflects the total view of the work. Interrupted void and variable construction forms carry the spectator to trespass the static uni-angular perception for enjoying the vast possibilities of the scenery.