Plastic artist Suhail Bodour ... Manifestations between life and image

Damascus-Sana

His journey with art that spanned more than forty years and brought him to the world through which the plastic artist Suhail achieved the role of many works that carried uniqueness and was characterized by a constant search for aesthetic meaning, spreading his anxiety, sadness and fear, and worked on renewal and moving forward towards unprecedented plastic horizons.

The artist's experience with a role that matured and occupied an important position in his intellectual and artistic manifestations was the focus of the symposium held by the Mada Cultural House at the Arab Cultural Center in Abu Rummana and moderated by the writer and critic Samer Muhammad Ismail, explaining at its outset that a role was born in one of the villages of Lattakia whose artistic and intellectual roots extend in history And his grandfathers built their relationship with the place from eternity, so that this effect would flow into his blood, inspired by his relationship with the mud from the earthen house that his fathers and grandfathers inhabited.

In the symposium titled “The Artist Suhail in the Role of Manifestations between Image and Life,” Ismail stated that the artist graduated from the Faculty of Fine Arts in Damascus, Department of Sculpture in 1981, to turn to creativity and modernity in art, refusing to submit to the prevailing trend towards the world, especially as he was a student at the hands of major Syrian artists as a conqueror The teacher and Nasir Shura.

Ismail explained that the artist's experience has a very important role, as he worked in all expressive directions in art and was borrowing the direction and reformulating it personally, highlighting his spirit at work, pointing out that he was a unique artist who worked with intention and mechanical control and possessed the distinguished painter's tools that enabled him to express himself, his stock and his feeling.

Speaking about the global plastic experience and comparing it with the Syrian experiences, Badour said, “We are still far from it because we followed a ready-made rule in drawing. We stood at it and began to revolve around it, and this does not make us achieve the desired development and the only rule that can be followed in art is to be honest to the utmost degree and research artistic issues to the limit. Al-Aqsa and breaking all the rules and conditions of art and expression.

Badour, who won the Palme d'Or award in the US state of Colorado, expressed his regret that art was not properly appreciated, although critical studies have proven that art is a non-profitable aesthetic value.

On the Syrian cultural project, he explained that delving into this context requires great capabilities at all levels and a long time to mature, indicating that there is a seed of a cultural project, but the problem is that art and creativity are elitist matters and spreading them on a wider scale requires expanding the circle of culture, science, knowledge and knowledge.

Rasha Mahfoud