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A Color Experience Which Deals with Time's Impact on Humans through Walls

Omar Shabana

A Color Experience Which Deals with Time's Impact on Humans through Walls

Dubai, Omar Shabana

Two evenings ago, the gallery of the Syrian artist Baseem Rayyes was opened, in (76) Gallery in Dubai. 35 paintings were in that gallery, done with various materials through the style of painting on walls which enables reminding of the artist's memories with walls, streets and quarters, not to mention the mythical, traditional and public culture, which give works all these horizons, in addition to the fact that this experience is based, partially, on color concept, and on the human, animals and plants artistic variations.

In coloring, Rayyes works with little number of colors with which he mixes in a style in which he tries to give the implying light power within the color, even in the dark paintings which are based on dark colors _ the apparent factor, here, is the meeting of light and darkness in a relationship that generates colorful rhythms that borrow some elements from music to move us through a bright powerful colored journey.

Within the initial experience, we are facing an artist who creates his worlds from the vague shadows of bodies on the walls, in various images which deal with childhood world and far fantasies connected with the artist's raising and his visual experience, where simple country environment and its components full of childhood elements meet with phrases from that world which deals with folklore heritage and the common spells in that environment.

Dreams, nightmares, fantasies and fears surrounding the child in particular, and human in general, form Baseem Rayyes's material, who functions them, with assistance of his rich artistic heritage in this field of course. Other Arab Artists effects, Mustafa al- Hallaj for example, appear in Baseem's works, but in a unique creative way that implies specific renewal, especially in using colors with bright light in blue paintings specifically.

Artist and critic Talal Mualla points, in brief words, to the artist worlds and his work which he sees that they are focused in "touching the shapes which are mixed with their routes, the richness of circles, and the vortex of senses." He, also, considers that these are "artistic and aesthetic options that have their holiness, and components ranging from past lagends to present readings of Baseem Rayyes who expresses his artistic horizon not by ideas only, but also by techniques which he prepares, by them, to touch the surface of his artistic work by senses before feelings, which makes the painting's body rich of intimacy and dialogue which pushes us to see things in the passion of the professional and the essence of the craft."

In a second opinion, artist and critic Ismael Rifaei looks at the essence of artistic work to which Baseem Rayyes wants to achieve, and focuses on "inner thoughts, details and walls" of the artist, so Rifaei talks about "places which we have never left", and sees how "the work is born simply by itself", with its colors rich of intimacy and sensitive lines and its reshaping which brings shapes back to their first image, as memory keeps it, living with metaphor and completed by it, where lines are emerged, details are generated, angles are differently placed and walls are shining with letters and memories scratched by children long time ago, so all of this is reborn in one focus, which is the focus of the Soul.

Translated by: Yazan el-Haj


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