Accesory3 Painting

Despite that I usually draw realistic subjects taken from the human nature or the nature in its general meaning, the imagination has an efficient role to play as it interacts with the realistic subject inside me and adds a new dimension to the subject.
This imagination does not alter the basic features of the subject but adds esthetic dimensions and personal feelings toward the subject; otherwise, the painting will become just a photograph and even outstanding photography has a certain vision in presenting things and adding a meaning to them.

Therefore, I consider that silent close examination of these things and life in general help to renew the imagination and continually change. Paul Gauguin once said something from which I learnt a great deal: In painting as in music, the one should ask for inspiration more than description.

As a woman who draws in an oriental atmosphere, I know that this atmosphere requires  warnings concerning the colors to draw the attention to the importance of the painted subject, particularly if it expresses the oriental woman.

My feeling toward my colors more than my knowledge of their characteristics and specifications, the love I feel toward them and the interaction with them ascertain the saying of the psychologist ZETTL: We do not recognize colors, we feel them.

These are my tools that do not differ from the tools of any other artist but hold my feelings and my message to the receiver, even if they are silent feelings, they are those of an oriental woman who lives and grows in an oriental society.

A message I try to convey in a readable and simple way without complication with a meaning that comes from my honest feelings and interior toward the things I love in an automatic inartificial manner. As the secret of the power of nature resides in its simplicity.

 

A question I always ask myself such as every artist and every person who appreciates my works ask. When I think of it, I think of one word only: The East.. Actually, the East is the secret word and the key of my inspiration as it means everything to me, especially when it melts into the fragrance of the history and the artistic and cultural heritage of this ancient orient. Therefore, this East personally signs all my works as it lives and expresses itself in every symbol and element that represents it (Arabic letters, jewels, old utensils, oriental carpets and even oriental individuals and people with their features and beautiful clothes). Thus, my basic and primary source is everything related to this orient as all books and works written in the history of the orient were and are still inspired from our inveterate history. In my turn, I found in them and in their artistic museums several subjects for my works.

Visiting the museums is very important for me in order to feel, learn and be nurtured by the oriental spirit, in addition to the artistic exhibitions of the other artists as I can learn a lot from the artistic contact and the others artistic experiences. However, the most important source of my inspiration and ideas is to come back to nature, whether the people or the nature in its general wide meaning. As for the people, particularly the oriental woman, she is my first spring that flows with ideas, inspiration and artistic revelation. The oriental woman has several rich elements that ignite my artistic sense, particularly her eyes as the eyes firstly draw my attention to the oriental woman and maybe I was sometimes able to read certain stories she tries to conceal in her look..

Other elements attract me in the oriental woman, namely her clothes, jewels, accessories, ornaments and the tools she used in her daily life, I mean the old utensils she used in our ancient environment before the tools of the new age.