Hussain Madi.. Painting is another life

Hussain Madi.. Painting is another life

Hussain Mati's departure was, above all, the departure of a friend. The path to his art and his person was not easy, but reaching it was an event, and it remains so. I was next to him as a writer, and he was next to me as an artist, and this partnership would become a turning point in my life, and perhaps his. So, losing him made art lose everything it meant to me.

Hussain Madi was not a person to me, he was the artist, and the artist is more likely to remain among them. The artist is a painting and a sculpture, and is behind the person and next to him, but he may be less like him, and in a sense unlike him. For the most part, Hussain Madi was hidden in his painting and sculpture, always another life, but always his hidden and hidden person.

Anyone walking around his home in Beirut will always encounter these works that do not immediately welcome him. give themselves easily. They are happenings on the wall. They are so integrated that they don't need a viewer or an observer. They are integrated to close to silence, to distance oneself, to a kind of unity and independence. . But as you walk among them, you realize that in its self-sufficiency, in its rigor, in its completeness, in this freedom from the observer, it has an existence like its own, rather it has an opposite life. His life, and an existence that confronts his existence.

He may be one of the last of his generation, but he is unique among them

She doesn't gossip, she doesn't gossip, she doesn't share herself and her story with him. But with this unity and this sufficiency, it is near, confronting, and friendly. This way, you can experience the artist through his painting, and you can talk to him, talk to him, and hear from him. Also, you can imagine stories from these works and feel what they hold, and Hussain Mati's paintings and sculptures are primarily what they hold and contain, which is secret and undisguised.

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“Garden of Eden”, lithograph, 70 x 100 cm (2003)

If there is one aspect of Mati's painting and his sculpture, it is transparency, it is clarity, and it is above all the essence and depth, it is the core of things, its organic basis and its final word. There are no mysteries and hidden things in his paintings and sculptures, but encountering them adds to the recipient, enriches the recipient, because they have a complete presence before him, they have an abundance of presence. Not surprisingly, this decoration gives us the power to play. We are not surprised to find in this alphabet, its sharp, incised and serrated letters, probably derived from cuneiform, in which we find a resemblance to drama and conflict.

A painting is a game for the viewer. The painting can be his story. Hussain Madi The women who build from what appears to be a single line, through this line, they express lust and desire, and thus, they are engaged in the production of lust, they are created. They do not shout it, neither flow nor emanate from them, the line, circles, angles, semi-circles and arcs of which they are formed, this is their greatest, absolute and complete existence. , the entity from which they are generated.

“Pink Vase”, mixed media on canvas, 51 x 51 cm (2008)

The woman here is lonely, but because of desire, she is as quiet as she is active. Past painting or sculpture can be reduced to the primal, organic, and grounded. However, they are pulled by the vein within them. Rather, it is this vein that makes them an independent phenomenon. They do not chatter or raise their voices as much as this nerve, as it grows and transmits. They don't say desire. The animals and flowers of the past may be this single entity, grounded and organic, in its movement and its simple and physical reality.

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Hussain Madi may be the last of his generation, but he is unique among them. On the contrary, he created an image and a special world among them. Mati's painting is not a departure from another painting in Western art. Also, this painting is not lyrical and elegant that characterizes many paintings, but rather they capture a large aspect of Lebanese art at the time, perhaps the largest. Hussain Mati's painting is not related to the salon art of the time, it is not sweet, sugary or lyrical. Instead, we don't know except for its jagged character ciphers and brutal, silent violence. When it turns into movement, so does its material and its lines… to the appearance, primal desire and longing. In this way, we can understand the exclusion and solitude of Hussain Mati, a truly special painting, and a world.

* My Lebanese poet

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