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Musseqael Walah

Takaseem 2 | Mix media / Installations | 87x87 cm

Musseqael Walah

Takaseem 3 | Mix media / Installations | 87x87 cm

Musseqael Walah

Takaseem 4 | Mix media / Installations | 87x87 cm

Musseqael Walah

Takaseem 1 | Mix media / Installations | 87x87 cm

Musseqael Walah

Takaseem 5 | Mix media / Installations | 87x87 cm

Musseqael Walah

Takaseem 6 | Mix media / Installations | 87x87 cm

Takaseem

2002

-1-

Repercussions can make a human to become something or to become nothing…Repercussions can cause a severe depression and can also create a positive and an enlightening reaction that can take a creative turn and enrich a human’s life.

The real and actual understanding of real life condition makes us brighter and livelier even through the psychological repercussions and the harsh social conditions. The human being interacts with its components and the circumstances of his environment that supposedly pushes him into the future and to a better world since the human being is the owner of the initiative and the land. Therefore, it is possible to deal with all types of sieges that is forced in an inhuman and in an unethical way to the logical mind and to look for alternatives to what is under siege.

The problematic deadly Arab reality is that it is a consumerism reality that has reached to a stage of vulgarity in a material and a spiritual way so we have reached to this condition of dependency on others to provide and to manufacture milk for our children.

The dilemma is harsh and scary between being the productive planner “the creative master” or the consumer “the backward slave”. The way of thinking is consumerism…derived from its close relationship with our psychological and social composition and in these condition the “I” elevates and the self-denial falls, the desires and anticipations rise and are exercised in a unethical way, thus reaching to the destruction of the soul as well as the destruction of the physical body.

The destruction of the physical body is much better that the destruction of the soul…and that is what is occurring in the brutal siege of Iraq…intellectual siege…materialist siege…siege…siege…but Iraq remains mighty with its men, its women, its children, its history, its civilization. Yet our heads remain buried in the mud and we can’t raise it in the face of the Iraqi Mariam that has turned into a carnage in the Amerya refugee shelter. Our heads remain in the mud as we become more aggressive...They become aggressive over the orange pulp as children rush to become martyrs.

-2-

The selection of some of the poetry verses by the great Iraqi poet, Bader Shaker AlSeyab is in line with the spirit of the painting, such as: If my nation dies poor – monologue- if I write a metaphor of my poor nation (blames and regrets) A nations is a place and death absences the soul and the body is submissive to the past, the present and the future. Death is a condition that you can’t predict as it is the unknown. Yet death and poverty are both found in a place and in the nation- one of the causes of death is poverty and poverty is a social disease that is purchased to bad planning.

-3-

The use of vocabulary and portraying them through Arabic calligraphy is not a heritage dimension and its reference goes to Ibn al-Bawwāb, Ibn Muqla and Yaqut al-Musta'simi in the 13th century during the Abbasid era in Baghdad…Yet to take advantage of the vocal frequency inside and outside the time and the place “I cry her time at night and its lines in third weight…then its place is Baghdad”. The technique of the painting: the natural shadow that changes according to the direction of light depending on the bird’s eye view.

-4-

The Siege of the Picture

The printed picture is as dangerous as a bullet. The picture is elegantly printed, precisely designed and the selection of its useful components is like a bullet that penetrates the body through the eye, then the emotions which composes the individual human behavior, thus becoming a visual storage that shapes our biased consumerism anticipations unconsciously towards a product…”Corn Flakes”-its time is in the morning and its place is in the kitchen…the picture of the rooster keep haunting you everywhere and the time puts you in a psychological status that you can’t get over, therefore through the memory, it creates an unconscious belonging to the product and we place ourselves under an unconscious siege.

-5-

The Beginning…The Painting

We have to clearly point out certain thing about this experimental work, in order for it not to get generalized thus drifting away in the seas and oceans, losing its most important and significant characteristics.

My humble experiment in this field “the crossing of the painting with poetry” comes differently then what is portrayed. The painting comes first then the technique and the idea is selected to suit it. In a sense, I didn’t draw the poetry selection and this should be clearly pointed out so that there is no prejudice in the rights of the poets and their works and this is the case of all the experiments which I have worked on like “The Appeal from the South of Beirut”, 1978, along with “Beirut” in 1982, “The Lover” in 1991, “Faces” in 1997 and ending with “Taqaseem” in 2001, which I have selected the poets and passages from the Iraqi poet, Bader Shaker AlSeyab. I dropped his work on my paintings and not created illustrations to explain his work. I don’t draw poetry but I create a painting in the beginning. This applies to all my experiments in the field of crossing poetry through a picture.

Ebrahim Busaad

18/4/2001

Bahrain

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