The
Iraqi Artist Thamer Dawood exhibits his dreams at
Darbounah Gallery
The Artist
Thamer Dawood goes to probe the depth of his ego away
from the ruling mob to proceed with the directions of
the visual forms across formation, coloration and
breaking the regular painting partition and in this
context, he's giving us areas of the dream in Darbounah
gallery through the painting area that dedicated its
references through the Iraqi painting contexts we used
to concerned with the expression, formulation and
formation beside diligent alterations to each special
climates. When we go back to the artist old climates,
we'll find him enjoying in the one dimension climate,
which prevailed among a group of artistic Iraqi
generations, but now and in front of an experience that
experienced the color and its revelation. This sensation
penetrate deeply into the artist's ego to present a
clean painting in organizing its elements to arrive
methods of placing colors through semi organized areas
where the sharp red breaks silence area in the pure
color and line movements the artist carried out by
abrasion and uncovering the color masks in the painting
ground, while on the other side we find that we are in
front of a surprising freedom the artist wanted to break
the art language ruled by silence, the neighboring of
hot and cold and the intersection of color signs that
lead the audience to the painting geography beside the
richness of the pictorial surface that stays in the
changeable accumulation of color material from one spot
to another.
Dawood's painting collects between steadiness of the
graphical formation and the pleasure of painting
together into a hard equation and needs to accurate
consciousness when the artist achieved an eye-catching
visual material through it that we don't have but to
respect. I believe that the artist Thamer could carry
out that equation between the strictness of the
graphical form, painting language and his freedom where
we find him dashes into colored spaces belong to freedom
side in its feeling the graphical space those works have
in the nature of handling, formation and finding clever
solutions to that handling. Even though of the
appearance of the shadows of influence of the Iraqi art
references from where the term formation is, while he
could find himself a place in his works through various
modifications of the one element beside his trials to
produce rich touches present the pictorial surface as a
multi radiant material concerned with depth and color
composition reaching to exploit the color coincidence
and include it into the formation sequence he works,
while we find him got rid of those influences in his
works to achieve his artistic work he belongs to through
clever stenography in the posed elements material that
enriched him and it's not a burden on him.
Muhammad AL-A'amiri
CHIEF JORDANIAN ARTISTS ASSOCIATION
20. JULY. 2006
