Salman Almalik



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An artist from Qatar




 A Contradictory between Salman Al Malik painting's (chair)and Frances bacon's (chair) rushes in time 

Beauty is more glowing within its match than its opposite realizing that gives the art work more dimensions ..and thatís is why van Gogh's painting (chair) is different from Velázquez's painting (the pope of enost the tenth) and also from Francis bacon's to Renoir and Picasso's (the diorama).

Maybe our connections and relationships with our things and works have cross points that reveal many layers of our consciousness and powers inside us..

In a sequence to this matter.. I was attracted by the amazing works of the  famous Qatari artist salman al malik..the characters that sitting on the chairs have more sense of consciousness comparing to the British artist Francis bacon's work in 1953 DC ( the study of flaskez dimension) and Velázquez's work in 1650 DC ..

With an amazing style we can feel the chair as if it is coming in an excessive speed from other time dimension ..about 4oo years.. with a sense that the chair is tiden up his seater with a horrible shout which can only be compared to munch's painting, however the body that is seated on that chair still stable.. while the characters of salman al malik seems to have expressions comes from the inside to picture an inner struggle though we can see no movement or shouting.. we can see their bodies pulled down by the gravity of the place and feel more intimacy to the surroundings.

While in Francis bacon's work we can see the character holding  the hands of the chair tidily and that can express the only stableness factor in it.

In both works we can feel the intimacy towards the place by creating a space of consciousness depending on the touch factors enriched with the combination and gravity of two different materials ( the human body and the material itself) in their physical features.

The ( chair ) of Francis can be almost invisible with lack of  characters , yet salman's work is totally visible but the characters miss their identity or features , the reaction and consciousness in  reality and keeping the inner balance is less stable from the outside, that is why the color techniques and the abstraction shapes that the artist uses are  floating expressed gradually to the surface of the work which had created a gap or a difference between the interactions, styles and rhymes in the activity of the visual ways..

Some of us can feel the fragile style of the work by seeing shapes with silent, suspicious expressions.. in a comparison to Francis's chair which is seemed to be like a death chair. 

The difference between the two pieces of work argue us to wonder about the reason behind the relation and belonging of the human body physically and metaphysically to a chair..

The communications and inner powers that can also be seen also in van Gogh's work.

Salman's characters are so related to their chairs that even if we imagined to separate them. they would be like  remains of  human beings with incomplete and missing expressions.

Such way of showing the art work suggests certain facts. regarding the external shape that reveals a complicated, sensual dimensions formed in featureless, shapeless figures of human beings expressing the inner psychological emotions.

Salman al malik had succeeded to present the body of the human being with an entilectual,flexable essence that is engaging with the still objects. hiring the the inner power to be related with time the characters would have a multy visual aspects ..though they may loose some of their features but yet they will not be disappeared. there is too much of pain and absolute silence that we can not be feeling it any more.

These figures are imprisoned to their chairs psychologically even if we can see the space they belong to. unlike the shapes of Francis which seem to be in an execution room.

So many people like Salman and Francis have the obsession about chairs as if we are a part of a play scene.



                                                                                                                                                                         Fatma Ali

                                                                                                                                                                          Cairo - 2007