The plastic artist Mahmoud Al-Jawabra paints (Narratives of Fear)

Damascus-SANA

The plastic artist Mahmoud Al-Jawabra re-drafted components inspired by reality to present them within a special expressive vision in his solo exhibition, Narratives of Fear.

The exhibition hosted by Ishtar Gallery included 30 oil paintings of medium sizes, the contents of which appeared in an expressive style with a lot of spontaneity in the combination of colors and their interactions with astonishment in the formations sometimes approaching the surrealist style.

Regarding the exhibition, the artist al-Jawabra said in a statement to SANA that most of the works she presented in narratives of fear simulate the situation of the Syrian person and the difficult conditions he lives in in its various human and economic aspects. Some people expressed it in his paintings in the form of color emotions and artistic formations.

Al-Jawabra explained that his paintings are full of anxiety under many titles related to the situation in which the Syrian person lives, as he chose topics that are in harmony with his own vision, such as the Asphalt Lake painting, which expresses a lake that overflowed and spread death around it.

In his turn, the plastic artist Issam Darwish, director of Ishtar Gallery, described the artist’s experience with the old and developed through several stations, indicating that the artist works on his paintings often without prior preparations, and despite his adoption of realistic forms, they begin to transform into worlds that depart from their first image in a visual dialogue that depends on color in Thicknesses scattered as if the color carvings.

Darwish explained that in this exhibition, Al-Jawabra continues his pictorial approach in inventing an epic atmosphere, as it appears in his description of his train at Daraa Station, which he drew with clear intimacy in many of the exhibition’s works and his pictures as an old friend, an inventor with an atmosphere approaching surrealism that puts him in the ranks of the declining nobility, as he put it.

Mohamed Samir Tahan

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