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It is with great pleasure that Safarkhan presents "Ahmed Gaafary"a unique contemporarytalent debut with us. "Prelude" will be exhibiting fromNovember 24th until December 29th, and promises to be thefirst of more to come, and a definite highlight of our new season due to his highartistic acumen and potential. This initial series of works we are presenting fromGaafary’s distinguished brand of abstract oil painting centers on hisinfatuation with the concept of communication in its myriad forms. Thisperpetual transmission of sentiments, thoughts and knowledge on the material,mental and spiritual levels, is the overarching preoccupation of this part ofhis artistic journey. Gaafary has placed his own unmistakable personal stamp onthe abstract figurative space in contemporary Egyptian art through his uniquestyle, one which defies the propensity of some abstract art toward being overlyvague, confusing or strange. Instead his canvases are relatable, humanizing andwith an identifiable profound message and purpose.

The word synesthesia comes from the Greekwords: “synth,” meaning “together” and “ethesia,” meaning “perception.” Gaafary was an avid reader andadmirer of the famed Russian-American author Vladimir Nabokov, who was aself-professed synesthetic. This curious neurological condition in whichinformation meant to stimulate one of your senses stimulates several of yoursenses, often causes those who have it to associate words, letters, numbers andother things with specific colors. Nabokov firmly believed that novelsshould not aim to teach but instead elicit a higher aesthetic enjoyment throughpaying close attention to details of style and structure. Similarly, Gaafary’spainting style thoughtfully partitions the canvas into irregular blocks ofcomplementary colors soothingly tessellated and connected to one another.

As Sherwet Shafei comments "From the mostimportant unique qualities of Gaafary is that despite his use of straight linesin the shape of squares rectangles and vertical lines we see that all his formstalk to us in a new language. This language is the life that we feel throughthese forms which represent the daily ritual of Egyptians in their daily life"

The element of universal communion that Gaafary explores, whether it isfrom plants to animals to humans to the great unknown, is a contemplative musingon the connectedness of all forms of life. Gaafary’s canvases hold a certainindeterminate property, as though they could be from any era from the distantpast, the present or the far future. It is almost as though he is using art asa form of encoded synesthetic language that he wants the viewers to uncover andenvelop all their senses in, intentionally keeping parts of this languageconcealed, to be discovered only by the initiated or the enlightened.

 
 
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