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Searching and experimentalism are aims to achieve creativity

Searching and experimentalism are aims to achieve creativity

Rawad Ibrahim, Al-Thawra - 20-02-2001


Syrian artist Baseem Rayyes, in his current exhibition in Albal Gallery, presents a unique experience through seventeen different sizes paintings which express, through their component elements, subjects which talk about human cases far from being direct and are constructed by symbols audience should seek their references in order to reach the ideas that the artists wants to express. Experiences transcend the ordinary in art; this does not mean that he seeks a literary text or a some read sentences, but he gets out these frames to avoid direct explanation and fast elaboration.
An experience which deserves to be looked at, especially that the artist focuses on experimentalism, so he presents works which are completely different from his previous experience.
We had this interview to talk about his experience:

Despite of your huge success previously, you present now a completely different experience; we can say that you have two different experiences.

I believe that art should always seek searching and experimentalism in order to achieve creativity. This makes me search in every painting to create another one which must be more developed than the previous, and deeply rooted in it at the same time. Sometimes this search may cause unexpected far results; they could simply serve the research subject, or they could get separated in order to construct another subject.
This does not apply on art only, but it may be transcended to other fields of science; we sometimes face scientists in physics or mathematics who research in very abstract equations and dive in unknown worlds, yet when they get a result, it may be a huge step in that field such as the Einstein's Relativism.
Picasso defines art as "A jump into the darkness." He was described, in most of his works, as a person capable of construction then he deconstructs everything to rebuild. This ability enabled him in developing his cubism more than once and achieve huge steps and results which are completely different from previous ones.

Background or the six shape is the most apparent in your works; what are its implications?

All who look and focus on the paintings will notice that the constructing unit is the six shape which consists of six sides and six angles. But this shape comes from a certain perspective of the circle; I think that the circle is solo, alone and infinite, but a group of circles may turn into a six shape.
Six shape is the collective state of the circle which looks like the Infinite which is solo, everlasting, holy and unique. Thus, the six shape becomes an expression of gathering circles which express a human social cases.

How did you deal with the six shape, and how did you function it as a human dimension in your works?

Before dealing with this shape as a human dimension, I dealt with it as both life and existentialist dimension. I noticed that when living creatures develop their organs, they usually become six; I have many examples about this. In addition to the relationship among atoms, I think that the six shape has something to do with our existence which gives us an affecting factor which is based on that shape.
I worked on functioning this shape on humans, and got good results which serve my subjects. Moreover, repeating this six constructing unit results in building a six-shape society which looks like beehive which I work on in order to compare between bee and human societies.

Despite the deformation of the human shape in your works, you have dealt with it in a clear artistic way.

This was the most suitable expression of what I seek to achieve. The person who stands on one leg, on his thumb only, is worried and may fall in any moment although he has got one leg only; the other leg may be on his head.
Female body, on the other hand, contains all features of fertility and life in general; inside her we find males, females, trees, fish and birds.

Using new material on wide spaces of the painting and suggesting a new technique gave the painting a third dimension.

In addition to all of that, I have also sought the energy of all materials in hand. All materials have wonderful energy of expression; you only need to discover and know their independency. I used some material and put them in the background to give the impression of random rising. When characters are backward where the background is forwarded, there will be a completion of the subject through the psychological state of characters which express the oppression, humiliation and their fate.
These characters are not just defeated, but they are also backwarded.


Translated by: Yazan el-Haj


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