QAIS ALSINDY

Status of a Man, Painting, Oil on Other

2019

In this painting I capture the essence of friendship between two distinct characters. The composition presents a woman, painted in a monochromatic palette of soft grays and blacks, e...

Abraham is the common father of the three monotheistic religions. With such an intrinsic and universal link among these religions, I trust that tolerance and acceptance of others can...

The themes of mother, motherhood, maternity are among the best subjects I like to depict in my art. With such endless passionate feeling of mother there will be no limit to love and ...

I got inspired to create this artwork by the holiday season, and how the kids are eager to give gifts to their parents, here, the daughter are offering something in her hand to her f...

Fatima El-Hajj, born in Lebanon in 1953, graduated from the Lebanese University’s Fine Arts Institution, the completed a second degree at the Leningrad Fine Arts Academy, and finally...

Samuel Hallaj (1958-2024) Samuel Hallaj was a visionary Armenian artist whose work transcended borders, captivating audiences around the world with its p...

Since the 1940s, the Egyptian painter Hamed Abdalla is not only a visionary pioneer of modern art for the global south and Arab countries; he is also one of the first of his generation to envision painting as political art and activism. The current display focuses on a specific time of defeat and disillusion for a whole generation of Arab artists and intellectuals, in the aftermath of the “Six Days War” led by Israel and their allies (a war title which a lot of Arab activists consider propagandist, preferring to call it “The Defeat of 1967” or simply the “June 1967 War”). This persistent ideological wound became the symbol of failed dreams for the “Arab Nation” or Arab states alliances – including the short but emblematic Egyptian-Syrian achievement of the United Arab Republic. Another major failure, to which Abdalla will respond through the paintings on display here, is the Egyptian President Anwar Sadat program of “opening up” (Infitah) the Egyptian economy and give way to political compromise with the US and Israel – Abdalla assimilating this period to a vast state of Coma for all Arab people and territories. In a collective statement by a group of Egyptian artists exiled in Paris (including Abdalla), published in the Egyptian local journal Al-Dustur, on 5 December 1977, one can read: “This disaster is far greater than the defeat of June 1967. Rather, it approaches the scale of the disaster that took place in 1948 (…) To destroy the Arab people’s noble three decades-long struggle against imperialism and Zionism (…) Sadat is exploiting the stifling economic crisis that Egypt is currently facing (…) We must resist this betrayal of our nation or be crushed under the wheels of global imperialism for generations to come.” The works presented here reflect Abdalla’s transformation of the Hurrufiyyah aesthetics, to achieve his own way of “Arab Letterism”. It claims for a deeply experimental, non-decorative, politically committed and non-commercial use of the Arabic letter...

Jean Sanglar was born in France in 1926. He draws with taste and talent from an early age, however, his family will only consider this a mere hobby. After studying law, he later took...