Nihad AL TURK

Nihad

AL TURK ayyam

gallery

beirut | damascus | dubai

Nihad

AL TURK

Beirut Beirut Tower, Ground floor, Zeitoune Street Across from Beirut Marina, Solidere Beirut - Lebanon Phone + 961 1 374450, Fax + 961 1 374451, Mobile + 961 70 535301 beirut@ayyamgallery.com Damascus Mezzeh West Villas 30 Chile Street, Samawi Building Damascus - Syria Phone + 963 11 613 1088 - Fax + 963 11 613 1087 info@ayyamgallery.com Dubai 3rd Interchange, Al Quoz 1, Street 8 P.O.Box 283174 Dubai - UAE Phone + 971 4 323 6242 - Fax + 971 4 323 6243 dubai@ayyamgallery.com © All rights reserved 2009

ayyam

gallery

beirut | damascus | dubai

Modern Robin Hood

When meeting Syrian painter Nihad al-Turk, you are faced with a restless man, a modern Robin Hood, as he likes to call himself, who is burdened by poverty, social and political injustice yet unable to restore order.

Born to a poor family in Aleppo in 1972, life didn’t go easy on Al-Turk. Finishing only the primary school, having no money and experiencing a series of debacles in his personal life however made Al-Turk all the more determined to achieve his dream and follow the footsteps of painters like Picasso and Da-Vinci, his ideal at the time.

'My works are a reflection of me,' Al Turk tells me. His paintings however depict a deformed, chained character, heavy with disappointment and sorrow. In fact, Al-Turk believes that every man is deformed from the inside and that life is about improving our deformed selves through our lives by love.

As Al-Turk finds life unjust and people only further deform and destroy it, he resorted to the world of animals that he sees as more righteous and innocent.

He created a mythical creature that unites the contemporary man, which is deformed, bewildered and disappointed in life and the animals.

'It’s people who deform life and worse they try to chain animals and organize their daily lives and meals according to their taste depriving them from their primitivism.' He says.

A night in his studio’s garden in Dummar marked a turning point in Al-Turks career. Awakened by a little mouse, Al-Turk felt his deep loneliness. By dawn, he depicted himself as a lonely deformed flower vase and painted the mouse as a deformed animal with seven legs. Since then the little animal has been present in all his paintings and has become a trademark of Al-Turks latest works.

Though moved to still life, the sense of alienation and oppression never parted Al-Turk’s works; avoiding the traditional still life stereotype, he deforms every element in his paintings and adds a living creature to each one.

'I can’t imagine painting a still life without life in it. It’s simply too rigid and lifeless that way.'

Despite their depressive content, Al-Turk’s paintings bear a lot of strength and love. His intensive use of red colors adds strength and vivacity to the works.

Far from the traditional interpretation of red as the color of love and revolution, Al-Turk sees it as a spark, action and a symbol of his intense love for life; for though he never lived on easy street, Al-Turk is very ardent and optimistic about his future. He has already won several prizes, among them the golden prize in the 5th Latakia Biennale in 2003 and his paintings has been sold in international auction houses.

Nevertheless, Al Turk believes his art will remain heavy with the poverty, political and social injustice that governs the world. 'As long as there’s no justice in life, tension will never leave my life and therefor my paintings.' He says.

By Nadia Muhanna

Aesthetics of Distortion

Nihad Al-Turk was born in Aleppo in 1972 in a poor neighborhood. Al-Turk believes that the suffering and poverty of his mother are what that made him a painter. In fact, his mother got married at the age of fifteen. She had only one dress. “I’ve always held the sorrow and suffering of my mother,” says Al-Turk who explains how he became a painter: “My brother was a painter and I’ve always watched him.” At the same time, he denies that painting is a destiny. “I could’ve been a professional politician or a footballer. I lead life with pleasure. I give out my energy wherever I go. I’ve energy and there’s a free being that keeps provoking me. Drawing was the closest activity to my heart.”

Four months in prison, however, were very crucial to him. He was actually jailed because of painting as he quit his compulsory military service for almost a month. Painting became his torture while in prison. “Jailors used to throw the drawing pad to me and order me to finish the paintings the next day. I used to paint according to the taste of jailors who would give my paintings to their beloveds as gifts. I’ve drawn hundreds of paintings while I was there under the pressure of jail. One day, I fainted because of hunger while I was painting.”

Yet, what did imprisonment do to his experience as artist? Al-Turk says: “I was transparent. Something broke inside me. I’ve become very violent. The mythical creature in my painting was born out of jail. This creature has become an integral part of my works. Even if you go to silent nature, you’ll find the creature there. It’s my attitude towards life. You can also see that this creature changes, is transformed and becomes bigger. The creature has now horns. Sometimes you find that it looks like a snake or devil. Instead of becoming more polite, it becomes more exotic. I can say that science fiction films in addition to myths that lie back in my imagination are what feed the image of that creature in my head. This creature looks like the works of Giacometti as I tried to simulate his works in the beginning.”

On top of that, Al-Turk, is fond of observing evil. “I believe that my task is to observe evil in life. Evil seduces me more. The mythical creature is the result of the contemporary human being. Since human being is viewed as ‘a distorted mass working hard to seek the best’, this is the meaning of finding a clear spark of hope in this creature, which is broken and deformed, but loves life at the end of the day. For example, I love the shape of the hunch, which points to a struggling and a repressed human being,” says Nihad Al-Turk.

This is why the characters of Al-Turk are a mixture of fear, heroism and distortion. They are his visual and epistemological memory that takes him towards Expressionism. “I cannot work in a decorative way. These scratches on the surface of the painting satisfy me and make me feel at peace. This suits my nervousness and edginess,” says Al-Turk. We are not sure whether this edginess and strong emotions are what make his painting sway between darkness and shade, and strong light. This play which is considered an essential part of the formation of the painting is part of its aesthetics, as well as other aesthetical aspects such as the lightness of the characters of his paintings and the balance even in the most distorted shapes. Of course, we should add to this the beautiful surface and collage.

In addition to all of that, we always see in Nihad’s work a necklace made up of seven beads, as if it is his own signature on the painting. It is his own personal necklace which he made in prison from olive seeds. Number seven refers to his family members whom he adores. Nihad goes further to use number seven in many elements in his painting. Thus, apart from the beads of the necklace, he attaches seven legs to the animal, as well as seven horns and a crown with seven peaks and so on.

“But forget all of this,” says Nihad. “Neither the creature, nor the necklace is an identity. My identity is the technique, which comes from my own laboratory, rather than from the laboratories of art academies.” Nihad has not studied art in an academic setting. Because of that, perhaps, he has been exercising photography ever since he was a child as a form of challenge. He had always found himself in a state of war with the painting. You notice that he has abundant anxiety and tension on the surface of the painting. He did not study at art academies. Yet, he was able to stand on solid feet on the scene of plastic art, as if he were out of flock, as a lone and unique, but sad, bird.

Rashed Issa Palestinian Critic Cultural Correspondent of Assafir Lebanese newspaper in Damascus

Nihad Al-Turk

The power of nature over nurture is evident in the artistic practice of Nihad AlTurk. Born in 1972 in Aleppo, northern Syria, the artist grew up in an ancient city far removed from the classrooms and studios of artistic academia. Driven by an innate hunger for self-expression, Al-Turk spent his formative years experimenting on paper and later canvas; approaching each individual work as a separate challenge.

Such frustration is reflected in the tension of his compositions with their carefully chosen subject matter, from still life studies to quasi-mythical portrayals. The dimensional naivety of his works combines with a bold use of color that is contained within lines screaming out in anxiety. While some may feel that AlTurk has achieved a maturity in his artistic expression, he continues to push the limits of his technique within his studio-laboratory.

Al-Turk’s most recent exhibitions: Mark Hachem Gallery in New York in 2008, Ayyam Gallery Damascus and Dubai in 2008 and 2009, and the Inaugural Exhibition of Damascus’s Museum of Modern and Contemporary Art in 2009.

Over the last decade, recognition of Al-Turk's talent has steadily increased; his mixed media works have since captivated viewers and collectors in Lebanon, Istanbul, Dubai, the USA, Paris and Switzerland.

‘Close’ 145 X 113 cm. Mixed Media on Canvas 2009

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‘The Secret Dinner’ 190 X 340 cm.

Mixed Media on Canvas 2009

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‘Vase’ 145 X 113 cm. Mixed Media on Canvas 2009

‘Vase’ 150 X 112 cm. Mixed Media on Canvas 2009

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‘Portrait’ 120 X 120 cm. Mixed Media on Canvas 2009.

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64

‘Daily Myths 1’ 145 X 113 cm. Mixed Media on Canvas 2009

‘Daily Myths 2’ 120 X 120 cm. Mixed Media on Canvas 2009

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62

‘Daily Legendry’ 145 X 113 cm. Mixed Media on Canvas 2009

‘Isolation’ 145 X 113 cm. Mixed Media on Canvas 2009

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60

‘Vase’ 130 X 120 cm. Mixed Media on Canvas 2009

‘Vase’ 162 X 162 cm. Mixed Media on Canvas 2009

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58

‘The Golden Handed’ 120 X 120 cm. Mixed Media on Canvas 2009

‘Vase’ 120 X 145 cm. Mixed Media on Canvas 2009

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‘Fruit Basket’ 120 X 120 cm. Mixed Media on Canvas 2009

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‘Vase’ 120 X 120 cm. Mixed Media on Canvas 2009

‘Clear as a Gun Shot’ 145 X 120 cm. Mixed Media on Canvas 2009

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‘The Table’ 150 X 122 cm. Mixed Media on Canvas 2009

‘The Table’ 150 X 150 cm. Mixed Media on Canvas 2009

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'Vase’ 120 X 145 cm. Mixed Media on Canvas 2009

‘Resistance is Life’ 130 X 120 cm. Mixed Media on Canvas 2009

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48

'Black Flowers' 120 X 120 cm. Mixed Media on Canvas 2008

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'Black Flowers' 120 X 120 cm. Mixed Media on Canvas 2008

‘Black Flowers’ 120 X 120 cm. Mixed Media on Canvas 2009

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44

'Love in the Time Of Cholera' 160 X 162 cm. Mixed Media on Canvas 2008

'The Hunchback' 150 X 150 cm. Mixed Media on Canvas 2008

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42

'Three Friends' 180 X 180 cm. Mixed Media on Canvas 2008

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'Vase' 120 X 120 cm. Mixed Media on Canvas 2008

'Bar'120 X 120 cm. Mixed Media on Canvas 2008

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'Red Table' 162 X 162 cm. Mixed Media on Canvas 2008

'Three Cherries' 162 X 162 cm. Mixed Media on Canvas 2008

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36

'VAse on Table' 180 X 180 cm. Mixed Media on Canvas 2008

'Table' 180 X 180 cm. Mixed Media on Canvas 2008

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'Still Life' 145 X 120 cm. Mixed Media on Canvas. 2008

'Still Life' 180 X 180 cm. Mixed Media on Canvas. 2008

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'The Fighter' 180 X 180 cm. Mixed Media on Canvas 2008

120 X 120 cm. Mixed Media on Canvas. 2007

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30

'Table' 180 X 180 cm. Mixed Media on Canvas. 2007

'Table' 150 X 150 cm. Mixed Media on Canvas. 2007

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28

'Trap' 180 X 180 cm. Mixed Media on Canvas. 2007

150 X 150 cm. Mixed Media on Canvas. 2007

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150 X 150 cm. Mixed Media on Canvas. 2007

120 X 120 cm. Mixed Media on Canvas. 2007

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'TURK Solitude' 120 X 120 cm. Mixed Media on Canvas. 2007

'Vase2' 140 X 156 cm. Mixed Media on Canvas. 2007

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'Table ' 180 X 180 cm. Mixed Media on Canvas. 2007

'Vase1' 162 X 138 cm. Mixed Media on Canvas. 2007

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140 X 156 cm. Mixed Media on Canvas. 2007

140 X 150 cm. Mixed Media on Canvas. 2007

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156 X 140 cm. Mixed Media on Canvas. 2007

180 X 180 cm. Mixed Media on Canvas. 2007

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16

'The Devil' 180 X 180 cm. Mixed Media on Canvas. 2007

150 X 140 cm. Mixed Media on Canvas. 2007

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156 X 140 cm. Mixed Media on Canvas. 2007

150 X 140 cm. Mixed Media on Canvas. 2007

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162 X 138 cm. Mixed Media on Canvas 2007

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‫نهـاد التّـرك‬ ‫مل يدر�س نهاد الرتك (مواليد حلب‪� ،‬سوريا ‪ )1972‬الفن ب�صورة �أكادميية‪ ،‬ولعله ب�سبب ذلك ميار�س الت�صوير منذ ال�صغر كنوع‬ ‫من التحدي‪ ،‬ولطاملا وجد نف�سه يف حالة حرب مع اللوحة‪ ،‬ح�سب تعبريه‪ ،‬فتجد لديه فائ�ض ًا من االنفعال والتوتر على �سطح اللوحة‪.‬‬ ‫يعنيه املو�ضوع يف عمله‪ ،‬ويتكرر لديه ال�شخ�ص امل�شوه‪ ،‬على غرار �أعمال جياكوميتي الذي ت�أثر به يف البدايات‪ .‬يعترب �أن التكنيك‬ ‫لديه خا�ص‪ ،‬لأنه جاء من خمتربه هو‪ ،‬ال من خمتربات �أكادمييات الفن‪.‬‬ ‫�شارك يف كثري من املعار�ض امل�شرتكة داخل �سورية وخارجها‪ ،‬من بينها معر�ض م�شرتك يف ق�صر اليون�سكو‪ ،‬بريوت‪ ،‬لبنان ‪.2001‬‬ ‫�أما معار�ضه الفردية فكانت يف املركز الثقايف الفرن�سي يف دم�شق ‪ ،1999‬ويف «بيت املدى للثقافة والفنون» ‪ ،2001‬ويف مر�سم فاحت‬ ‫املدر�س ‪ ،2004‬ويف �صالة ديار بكر ‪ ،2005‬ويف دار كلمات يف حلب ‪.2007‬‬ ‫ومن بني اجلوائز التي نالها اجلائزة الذهبية يف بينـايل املحبة الدويل اخلام�س يف الالذقية عام ‪ ،2003‬واجلائزة الثانية يف‬ ‫معر�ض ال�شباب الثاين ‪ ،2001‬وجائزة تقديرية يف م�سابقة «ف ّكر مع يدك» يف املركز الثقايف الإ�سباين بدم�شق‪� .‬أعماله مقتناة يف‬ ‫�سوريا‪ ،‬فرن�سا‪� ،‬أاملانيا‪� ،‬إيطاليا‪ ،‬تركيا و�سوي�سرا‪.‬‬

‫‪9‬‬

‫ولكن الرتك مولع‪ ،‬قبل ذلك‪ ،‬مبراقبة ال�شر «�أجد �أن مهمتي ر�صد ال�شر يف احلياة‪ ،‬ال�شر يغويني �أكرث‪ .‬والكائن اخلرايف هو نتيجة‬ ‫للإن�سان املعا�صر‪ .‬وما دام ينظر �إىل الإن�سان كـ «كتلة م�شوهة جتتهد للو�صول �إىل الأف�ضل»‪ ،‬ف�إن هذا هو معنى �أن جتد بريق �أمل‬ ‫وا�ضح ًا عند هذا الكائن؛ املنك�سر وامل�شوه‪ ،‬ولكنه املحب للحياة يف نهاية الأمر «مث ًال جتدين �أحب �شكل احلدبة عند الإن�سان‪ ،‬فهي‬ ‫تعرب عن �إن�سان مكافح ومقهور»‪ ،‬يقول نهاد الرتك‪.‬‬

‫قما�شة الأمل‬

‫هذا هو معنى �أن ت�أتي �شخ�صيات الرتك ممزوجة باخلوف والبطولة والت�شوه‪ ،‬هي ذاكرته الب�صرية واملعرفية التي ت�أخذه �إىل‬ ‫نزعة تعبريية «ال �أ�ستطيع العمل بطريقة تزيينية‪� ،‬إن هذه ال�شخبطة على �سطح اللوحة تر�ضيني وت�شعرين بطم�أنينة‪ ،‬ذلك ينا�سب‬ ‫انفعايل ونزقي»‪ .‬ال ندري �إن كان هذا النزق والعاطفة القوية هما ما يجعل اللوحة تنو�س بني العتمة والظل وبني ال�ضوء القوي‪،‬‬ ‫هذا اللعب الذي يع ّد جزء ًا �أ�سا�سي ًا من تكوين اللوحة هو جزء من جمالياتها‪� ،‬إىل جانب جماليات �أخرى كر�شاقة �شخو�ص لوحاته‪،‬‬ ‫وذلك التوازن حتى يف الأ�شكال الأكرث ت�شوه ًا‪ .‬بالإ�ضافة �إىل �سطح وكوالجات جميلة‪.‬‬

‫خليط احتماالت ‪ ,‬مدعي ق�سوة‪ ,‬مزور بالفطرة‪� ,‬شبيه �صورتي حني �أ�ضحك‪ ,‬و �أول من يقتلها‪.‬‬ ‫خلف ال�صورة التي بالكاد يتبينها النا�س‪ ,‬يكمن وح�ش حزين وغا�سل �صحون و جم ّلد كتب‪ ,‬و مف ّكك �ساعات و حامل �أختام و‬ ‫مالكم �أعور و �صبي كهربائي يبعج باملفك عني �أول قطة ي�صادفها و ي�شطب بال�شفرة وجه من ت�سول له نف�سه �أن يدو�س على طرف‬ ‫حياتي‪.‬‬ ‫�أقفز كاملل�سوع من يوم لآخر‪ ,‬فعلت هذا طوي ًال و دخلت ال�سريك‪ .‬رباين القنفذ و علمني �أن �أقلع �شوكي بيدي و�أن �أُدمي َّ‬ ‫كف من‬ ‫علي‪.‬‬ ‫يقب�ض ّ‬ ‫بيد مبتورة ال ت�صلح للحياة‪ ,‬و �أنّ مفتاحها معلق يف رقبتي كامل�شنقة‪.‬‬ ‫نزلت ال�شارع و ك ّلي يقني �أنّ احلقيقة التي �أعطاين �إياها �أبي ٍ‬ ‫كنت �أتل ّقط الطريق على �أطراف �أ�صابعي كمن مي�شي يف وحل و �أتل ّم�س بيد عمياء حيطان ًا رخوة‪.‬‬ ‫م َّر قربي املحاربون بقرون ناتئة و مالمح تائهة‪.‬م َّر ح�شد من الفال�سفة ب�أعناق طويلة و �أذيال براقة‪.‬‬ ‫قدي�س و مربي عجول و �صاحب مزمار يجر خلفه رت ًال طوي ًال من اجلرذان �إىل حتفها‪.‬‬ ‫ثوري و‬ ‫م َّر ٌّ‬ ‫�شرطي و ٌ‬ ‫ٌّ‬ ‫م ّرت العقارب تب�صق يف فم ال�سجني و ترتك الق�سوة ت�سيل �شريط ًا رفيع ًا من �أ�سفل الغرفة‪.‬‬ ‫�صارت ت�صلح فر�شاة �ألوان للوحة بال ق�صد‪.‬‬ ‫طالت و‬ ‫ْ‬ ‫رقت و ْ‬ ‫�أوهامي قادتني �إىل حفرة �سرية‪ ,‬و روحي �ضربتها على حجر حتى ْ‬ ‫أربي الندم بري�شة عري�ضة و �أكمم الأفواه بلون الده�شة‪.‬‬ ‫� ّ‬ ‫�صائد بهجة العائلة‪� .‬أتتبع �أثر احلب �إىل نبعه الأول‪ ,‬و �أرمي بر�أ�سي على ح�ضنه‪.‬‬ ‫‪..‬‬ ‫‪..‬‬ ‫ثم �أعرب احلياة ب�أرجل �سبعة و تعويذة ملونة يف العنق و خلفي يلتمع خيط ذهبي من الأمل‪.‬‬

‫�إىل جانب ذلك كله نلمح دائم ًا يف �أعمال نهاد عقد ًا من �سبع حبات‪ ،‬يبدو وك�أنه توقيعه اخلا�ص فوق اللوحة‪ ،‬هو عقده ال�شخ�صي‪،‬‬ ‫الذي �صنعه يف ال�سجن من حبات الزيتون‪� .‬أما الرقم �سبعة في�شري �إىل عدد �أفراد عائلته التي يقد�سها‪ ،‬بل ويروح نهاد ي�سحب‬ ‫الرقم �سبعة على عنا�صر عديدة يف اللوحة‪ ،‬فبعد حبات العقد يجعل من �أرجل احليوان �سبعة‪ ،‬ومن قرونه كذلك‪ ،‬ومن �أ�سنان‬ ‫التاج‪ ،‬وهكذا‪.‬‬ ‫لكن دعك من كل ذلك‪ ،‬يقول نهاد‪ ،‬فـ «ال الكائن وال العقد هوية‪� ،‬إن هويتي هي التكنيك‪ ،‬الذي ي�أتي من خمتربي ال من خمتربات‬ ‫�أكادمييات الفن»‪ .‬مل يدر�س نهاد الرتك �إذ ًا الفن ب�صورة �أكادميية‪ ،‬ولعله ب�سبب ذلك ميار�س الت�صوير منذ ال�صغر كنوع من‬ ‫التحدي‪ ،‬ولطاملا وجد نف�سه يف حالة حرب مع اللوحة‪ ،‬فتجد لديه فائ�ض ًا من االنفعال والتوتر على �سطح اللوحة‪ .‬مل يدر�س ومل‬ ‫ينهل من �أكادمييات الفن‪ ،‬ولكنه ا�ستطاع �أن يثبت قدميه على �أر�ض امل�شهد الت�شكيلي‪ ،‬كما لو �أنه بالفعل خارج ال�سرب‪ ،‬طائر ًا‬ ‫وحيد ًا وفريد ًا ولكن‪ ..‬حزين‪.‬‬

‫�إىل نهاد الرتك‬

‫را�شد عي�سى‬ ‫ناقد فل�سطيني‬ ‫املرا�سل الثقايف ل�صحيفة «ال�سفري» اللبنانية يف دم�شق‬

‫‪6‬‬

‫حممد ف�ؤاد‬ ‫�شاعر و طبيب �سوري‬

‫‪7‬‬

‫جماليات الت�ش ّوه‬

‫ح�سن‪ ،‬نائلة‪ ،‬عمر‪ ،‬ليلى‪ ،‬ابراهيم‪ ،‬مليا‬ ‫الآن وم�ستقب ًال‪� ....‬ساحموين ب�سبب تدفقي احلاد‬

‫ولد نهاد الرتك (مواليد حلب ‪ ) 1972‬يف بيئة فقرية‪ ،‬وكما يقول ف�إن ما جعل منه ر�سام ًا هو عذاب �أمه وفقرها‪ ،‬هي التي تزوجت‬ ‫حزن �أمي وعذا ِبها»‪ .‬وي�شرح نهاد كيف �صار‬ ‫مبكر ًا يف �سن اخلام�سة ع�شرة‪ ،‬ومل تكن متلك �سوى ثوب وحيد‪« ،‬لقد حملتُ راية ِ‬ ‫ر�سام ًا‪�« :‬أخي كان ر�سام ًا‪ ،‬وكنت �أراقبه على الدوام»‪ ،‬ولكنه ينفي يف الوقت ذاته �أن يكون الر�سم قدَ َر ًا «كان ميكن �أن �أكون �سيا�سي ًا‬ ‫لدي طاقة وكائن ح ّر بداخلي يح ّر�ضني‪ ،‬وكان‬ ‫حمرتف ًا �أو العب كرة قدم‪� .‬أنا �أتعاطى احلياة بلذة‪ ،‬و�أعطي طاقتي �أينما حللت‪ّ .‬‬ ‫الر�سم هو الأقرب �إيل"»‪.‬‬ ‫لكن �أربعة �أ�شهر يف ال�سجن كانت حا�سمة بالن�سبة �إليه‪ ،‬هو الذي ُ�سجن �أ�ص ًال ب�سبب الر�سم عند انقطاعه عن خدمته الع�سكرية‬ ‫ال�سجانون يرمون �إ ّ‬ ‫يل بدفرت الر�سم وي�أمرونني ب�إنهائه يف اليوم‬ ‫الإلزامية حواىل ال�شهر‪� .‬صار الر�سم عذابه يف ال�سجن «كان ّ‬ ‫التايل‪ .‬كنت �أر�سم �أ�شياء على ذوق ال�سجانني الذين كانوا يهدون لوحاتي �إىل حبيباتهم‪ .‬ر�سمت مئات اللوحات هناك‪ ،‬حتت �ضغط‬ ‫علي من �شدة اجلوع و�أنا �أر�سم»‪.‬‬ ‫ال�سجن‪ ،‬مرة �أغمي ّ‬ ‫لكن ماذا فعل ال�سجن بتجربته كفنان؟ يقول‪« :‬كنت �شفاف ًا وانك�سر �شيء بداخلي‪� .‬صرت عنيف ًا جد ًا‪ .‬ذلك الكائن اخلرايف يف‬ ‫لوحاتي هو ثمرة ال�سجن‪� .‬صار ذلك الكائن مالزم ًا لأعمايل‪ ،‬حتى لو ذهبت �إىل الطبيعة ال�صامتة ف�ستجد الكائن فيها‪� ،‬إنه موقفي‬ ‫من احلياة‪ .‬جتد �أي�ض ًا �أن هذا الكائن يتغيرّ ويتح ّول ويكرب‪� ،‬أ�صبح له قرون‪� ،‬أحيان ًا جتده ي�شبه الأفعى‪� ،‬أو ال�شيطان‪ ،‬وبدل �أن يتهذب‬ ‫جتده ي�صبح �أكرث غرائبية‪ .‬ميكنني القول �إن �أفالم اخليال العلمي‪ ،‬بالإ�ضافة �إىل الأ�ساطري املختزنة يف خميلتي‪ ،‬هي ما يغذي‬ ‫لدي‪ .‬وهو (الكائن اخلرايف) جاء �أي�ض ًا على غرار �أعمال جياكوميتي الذي كنت �أحاكي �أعماله يف البدايات»‪.‬‬ ‫�صورة هذا الكائن ّ‬

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‫نهــاد التــرك‬

ayyam

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beirut | damascus | dubai

‫نهـادالرتك‬ ayyam

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beirut | damascus | dubai