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Alaa Sharabi in Tajalliyat Beirut

Painting is the truth..!

The painting is a space for a close contact with the defeats of the Spirit in its social and even cosmic dimensions, and its shimmering glow that reflects each joy and spark experienced by it. Painting is viewed as such by Heidegger and Nietzsche and a lot of philosophers and theorists in the art field. We may propose that the painting is the truth in the form of real illusion of an optical art realized by sensation; however, vision is the entrance to communicate with the paths and sensitivities of deeply scratched Spirit, particularly as it is the spirit of the artist embodied on the surface of the painting.

The surface created by the artist Alaa Sharabi is a hard surface, made of copper, wood, stone or even compressed paper and thus the act of scratching this surface is a painful or delightful repetition and immersion for the second time after the Spirit is exposed to those delicate or violent scratches of influences that ravage the Spirit before or while making the artistic act. Carving is more than drawing a line on the plate, it is the reiteration of the intense stored emotions; the artist may be placing his self on the edge of the sharp carving tools, like operating a surgery on an inflamed surface .

With this close contact between the steel surface and the artist’s sensitivity, we must be facing a glow and ignition of a sentimental type that takes in itself the shape of the case and its later transformation into a product that carries the privacy of all emotions.

Carving techniques are an essential part of the distinguished technical expertise that the artist must own in
order to be able to express this form of simplification and composition, originality, and seduction. It is not easy to regulate this process and to achieve what Alaa has achieved due to his rebellious and creative spirit which is capable of being regenerated from one painting to the other at the level of experimentation, testing, shape and visual vocabularies in their realistic, expressionistic and abstractive level. 
He does not only have his own range of techniques applied on various materials, but he also has the ability to link them together and to add to them to serve the dreamy case or the intellectual, psychological or social argument that he wants to communicate with the other. The painting has a value and spaces of eruption which are controlling and being controlled. Between the action and the reaction there is this conflict, tension and internal dialogue which reaches the extent of fragmentation, refraction and the emergence of light to restore balance after all this strange acceleration in the paths of artistic act.

The painting for Sharabi is not an act of tight organization, relationships, configurations and geometries, but it is an act that is entrenched in self-consciousness and liberated from traditional systems of painting engineering and its academic references; it is even liberated from Alaa himself, thus they meet in an act of free love that is flowing to the middle of the road which is the painting.

Alaa’s painting is rich with details, however we can never witness any repetition of the form or the situation, and this is an important achievement on the level of the creative flow, and points with full force to the artistic experience, and its state of consciousness which allows the painting to move in the most problematic spaces, such as: the concept of homeland, freedom, existence, love, brutal human, and elevation. All of these problematic issues called him in earlier periods to engage realistically in the human expressive inner worlds, and in the relationship between time and face, but later he had a tendency to draw dead dolls, with all their significance. He also drew insects and wild organisms in addition to drawing the human in this stormy and tense space that we call the painting.

One of the most creative problems that we can see in the paintings of Alaa Sharabi is the shape that connects Alaa to the land; it has an earthly human or animal form; while the other abstract form is the one that takes him away in space. If we wanted to specify the artistic school to which his paintings belong, we would say that his painting is the space between expressionism and abstraction, and between the earth and the sky as a psychological and spiritual case.

Between Earth and space, Alaa becomes liberated from the gravity of things; his painting has its own time
and space, as an act of scratching the surface of this spirit which generated these visual shivers.
Painting is the truth..!

The painting is a space for a close contact with the defeats of the Spirit in its social and even cosmic dimensions, and its shimmering glow that reflects each joy and spark experienced by it. Painting is viewed as such by Heidegger and Nietzsche and a lot of philosophers and theorists in the art field. We may propose that the painting is the truth in the form of real illusion of an optical art realized by sensation; however, vision is the entrance to communicate with the paths and sensitivities of deeply scratched Spirit, particularly as it is the spirit of the artist embodied on the surface of the painting.

The surface created by the artist Alaa Sharabi is a hard surface, made of copper, wood, stone or even compressed paper and thus the act of scratching this surface is a painful or delightful repetition and immersion for the second time after the Spirit is exposed to those delicate or violent scratches of influences that ravage the Spirit before or while making the artistic act. Carving is more than drawing a line on the plate, it is the reiteration of the intense stored emotions; the artist may be placing his self on the edge of the sharp carving tools, like operating a surgery on an inflamed surface .

With this close contact between the steel surface and the artist’s sensitivity, we must be facing a glow and ignition of a sentimental type that takes in itself the shape of the case and its later transformation into a product that carries the privacy of all emotions.

Carving techniques are an essential part of the distinguished technical expertise that the artist must own in
order to be able to express this form of simplification and composition, originality, and seduction. It is not easy to regulate this process and to achieve what Alaa has achieved due to his rebellious and creative spirit which is capable of being regenerated from one painting to the other at the level of experimentation, testing, shape and visual vocabularies in their realistic, expressionistic and abstractive level. 
He does not only have his own range of techniques applied on various materials, but he also has the ability to link them together and to add to them to serve the dreamy case or the intellectual, psychological or social argument that he wants to communicate with the other. The painting has a value and spaces of eruption which are controlling and being controlled. Between the action and the reaction there is this conflict, tension and internal dialogue which reaches the extent of fragmentation, refraction and the emergence of light to restore balance after all this strange acceleration in the paths of artistic act.

The painting for Sharabi is not an act of tight organization, relationships, configurations and geometries, but it is an act that is entrenched in self-consciousness and liberated from traditional systems of painting engineering and its academic references; it is even liberated from Alaa himself, thus they meet in an act of free love that is flowing to the middle of the road which is the painting.

Alaa’s painting is rich with details, however we can never witness any repetition of the form or the situation, and this is an important achievement on the level of the creative flow, and points with full force to the artistic experience, and its state of consciousness which allows the painting to move in the most problematic spaces, such as: the concept of homeland, freedom, existence, love, brutal human, and elevation. All of these problematic issues called him in earlier periods to engage realistically in the human expressive inner worlds, and in the relationship between time and face, but later he had a tendency to draw dead dolls, with all their significance. He also drew insects and wild organisms in addition to drawing the human in this stormy and tense space that we call the painting.

One of the most creative problems that we can see in the paintings of Alaa Sharabi is the shape that connects Alaa to the land; it has an earthly human or animal form; while the other abstract form is the one that takes him away in space. If we wanted to specify the artistic school to which his paintings belong, we would say that his painting is the space between expressionism and abstraction, and between the earth and the sky as a psychological and spiritual case.

Between Earth and space, Alaa becomes liberated from the gravity of things; his painting has its own time
and space, as an act of scratching the surface of this spirit which generated these visual shivers.

From
08-Jun-2015

To
30-Jun-2015

Alaa Sharabi in Tajalliyat Beirut
Alaa Sharabi in Tajalliyat Beirut
Alaa Sharabi in Tajalliyat Beirut
A new Melody
Beautiful Black
Desert
Faces
Fighting for the ball
Man and Woman
Play and Dance
Playing Flute in dark
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