Sumer recalled
.. Lost in his search, adamant in his intuition he
continuously works hard on a strange, but realistic
triad. Ancient Iraqi Sumerians recorded the history of
their lives through water, soil and the sun. The
vocabulary he used in establishing his triad was not
limited to the God-sent mass, but he documented his
symbols, religious practices, and erected his god’s
statues which will protect him, someday, from the
worldly surprises.
The Iraqi painter, Thamer Dawood, repeats on the
sidelines of his new world his tendencies to emulate the
ancient Iraqi artist inside him. He now declares his
satisfaction with his triad: his colors, his vision and
lights of his spirit.
He is a symbolic creature who works on free surfaces
that allow him to recall most of his old heritage tools
into a current format, in seamless harmony with the
intimate artist in him.
This artist is like an adventurous bird. He discovers
the features of his paintings through his free attitude
which holds his hand while he is creating the painting
scope. He does not abandon his migration maize when he
pulverizes shapes to extract his open meaning that
contradicts real meanings as the painting takes
dimensions outside its real dimensions. Every time, the
painting gives him an opportunity of new space he
extends his colors and visual questions in a limitless
freedom.
Thamer Dawood -1966 is a painter beyond knowledge…
Plastic Art to him is new knowledge of a man that faces
for the first time, shapes and dimensions, and flirts
with colors using his fingers like a threatened infancy
which does not stop at any limit, until the rainbow of
his colors frees the limits of the horizon
His paintings are strange islands, whose dim dawn is
brightened by the whiteness of his heart, and make his
contradictions harmonized by his dynamic nature and his
smooth style. He carries with him his prophesies while
hiding the visual details as if he is assuring us that
art does not have a true identity without the painter
asserting his colors outside all meanings.
Advance knowledge of the meaning of a painting is
certain death to all possibilities. He refuses finality
and certainty… that is why Thamer Dawood works on an
open-ended painting…with a banished meaning and endless
contradiction. This way, his painting leaves its true
date to belong to its own private date.
Sweden, February 2009
Farouk Salloom
