A retrospective exhibition of the late plastic artist Naim Ismail

Damascus-Sana

The public of art brought back the works of plastic artist Naim Ismail, who left our world in 1979, through an art exhibition hosted by George Kamel Gallery in Damascus.

The exhibition, which was held within the days of Syrian plastic art, is a token of loyalty to this artist and to evoke the artistic memory of the artist. It included 30 different sized paintings, whose tools varied between oil on paper or cloth, acrylic and water, which, although they belong to the time of the sixties, were pulsating with modernity as if they were ahead of its time.

Rayan ibn the artist explained that these paintings represent several stages of the late’s life from the beginning of the sixties until his death and contain a high formation, abstraction and great symbolism because his works were vibrant with hope and see through them the beautiful things in life without the dark ones which constitute a shock to others, pointing out that there are some works in Chinese ink as a study Initial or basis for works larger than them were executed as oil paintings and other things, including those that remained on paper.

George Kamel, the owner of the gallery, explained that these paintings have been collected since 2002 to form the first exhibition of the artist since his departure, with the aim of enriching the visual taste of the public, considering that this artist is the latest turning point in the history of Syrian plastic art because he has a unique experience inside and outside Syria.

The plastic artist Suhail, in the role of explaining, during a statement to SANA, that the artist Ismail preceded his era of modernity and had works that rise to the world, recording his important presence in the plastic memory, pointing out that holding exhibitions for these adults and bringing them together is very important because despite their absence they form a cognitive, creative, cultural, emotional and humanitarian platform from which they started as artists Artists.

The poet researcher Bakour Aroub described the evocation of the plastic memory in the fifties and sixties of the last century as a very important initiative, especially the art, authenticity, depth and modernity of the artists of that stage as a message that they present to preserve our heritage, symbols and civilization, as if we were telling the world this is beauty and art in Syria.

Novelist Muhammad al-Taher saw that holding this exhibition within the days of plastic art is a beautiful cultural phenomenon, pointing out that artist Ismail, with his symbolic and surrealist art, dropped his paintings on reality, which are almost verbal, as they carry the scent of the present, although they date back about 60 years.

Bilal Ahmad