Sharjah: Othman Hassan
The Islamic Arts Festival is characterized by being an incubator for many works that keep pace with all forms of ancient and contemporary arts. Through its successive sessions, it has been able to confirm the importance of these arts, as they constitute a continuous link of the ideas and cultures of the world, which confirms, on the other hand, that the festival establishes its name as an international artistic event. Specializing in Islamic arts, he reflects the vitality and expressive depth of these arts as a global artistic language.
The festival embraces all forms of art, including the huge works, which belong to the category of artistic “compositions”, as they deal with a concept deeper than being a tangible composition. the art.
In the festival, the objective condition of (artistic installation) is achieved to parallel with it being an artistic composition that seeks to transform the tangible into the tangible, where it is achieved as a visual creative achievement, according to its external architecture, and then (gradually) through the artist’s workmanship or achievement, to translate the potentials of human taste, That strives for perfection and the search for the aesthetics of the soul.
The American artist, Matthew Shellian, participates in the festival with an installation that is closer to the artistic composition, entitled “Heat Signs”, where he works on the duality of light and shadows, as well as form and repetition. Shellian manufactures each unit separately, by cutting, folding, pasting and assembling it on a supporting plate. Here, the shapes made appear as if they are moving outward from a central point. The general perspective of the external form on the decorative structure of the Islamic arts tradition.
Shalian presents several artistic installations with different titles, such as: “The Unholy Wandering in Blue,” “Umoplata 112,” “Omoplata 108,” and others.
In turn, the American artist Zelvinas Campinas is participating in a remarkable artistic participation based on the principle of repetition and gradually changing dimensions through two artworks based on the idea of lines, light and shadows as well. With different optical combinations, they create illusion shapes for circular patterns..
This outstanding work shows an amazing ability to employ form, to create a sensual structure through curved shapes, and multiple shades straight on the ground.
Here, the artistic installation in front of the viewer shows an ability to express the state and form of the subject, both of which embody the intended meaning of the artwork, which is based on a visual culture or to transfer a captivating “visual sense” that explores beyond the external shape that came in the form of a circle, and also came in the form of A cone closer to the pyramidal shape in the work entitled “Nautilus 2” made by Campinas (aluminium, copper, motor, timer and light).
Emirati artist Amalia Baljafilah presents a sculpture entitled “Infinite Light” based on a well-known Emirati heritage, the Ghaf tree.
Undoubtedly, the basic idea of this work suggests those unlimited spiritual dimensions, with which the viewer interacts with a high spirit, especially since the artist was inspired by her work from the Qur’anic verse: “And we have created man and we know what his soul whispers to him.”
The significance of the numbers
In their joint work “The Path”, the two Iraqis residing in the UAE, Modo Method and Laith Mahdi, present an artistic installation “Design” that focuses on the gradual process that people go through in their lives, and the design is closer to the concept of artistic installation in terms of form, and whoever follows this work, which covers a reasonable area Depending on the number of pieces used from different materials such as ash, birch wood and Vermont marble, the artists focus on numbers and the significance of the numbers 5 and 7, and the connection of these numbers with the religious perspective, especially Islam, we are in this interactive artistic installation in front of multifunctional units and pieces of art, and we are facing concrete forms But they are structures that suggest what is farther and more intimate, and almost touch what is in the souls and conscience.