Amman- plastic artist Kamal Abu Halawa believes that modernity has led to the opening of the visual and intellectual openness, because the art is no longer a reflection of harsh ideas, but rather criticizing analysis, thinking and reality, all its details and problems.
Abu Halawa’s work is a renowned art experience that shows the ability of the artist to combine local cultural identity with contemporary global ideas and experiences. It is not only satisfied with expressing the beauty of nature and human feelings, but also re -designing them in a way that combines contraction and symbolism.
This uniform approach shows that art does not control itself with geographical or cultural limits, but rather a means of deep human communication with global experiences, which helps see one of the most important voices in contemporary arts at local and international levels.
Abu Halawa, who played an important role in supporting the Jordanian plastic movement and founded special exhibitions, contributed to the creation of artistic transmission inside and outside, with the experience of the “Francis Bacon”, with the experience of the “Francis Bagan”, which is a conversion of the existence and human tensions, which is a contemporary scenery, which is a contemporary scenery. As the means.
He points out that the painting is handled as a social and cultural nature conversation, in which the self is united with the group, “I am trying to use the art to create bridges with different sections of society, a barrier to the recipient and artistic activities aimed at destroying the illiteracy, and a barrier between contributions.
Says Abu Halawa: “When I stand in front of my painting, I was born again in every color layer, in each color layer, on every touch of a brush, and every silence that lives between the optical rhythm strikes. First”.
When he carries his brush with a sword, not to fight the beauty, but when he faces the infection of the invisible, male lack of silence and silence, he is facing a brush with colors, not with blood, not a kind of silence. Plastic artist, Abu Halawa, is not afraid to enter the shadowy layers, but for his pain, for his pain, for his faces, like a grain that attacks the wall of life, like a grain that attacks the wall of life, in a vigorous, emotional language, with his painting, sad, and silently, silence, and silenced. He says, he feels around him.
அவரது கலைப் படைப்பில் அவர் பயன்படுத்துவதை அவரது வெளிப்படையானது மறைக்காது, ஏனெனில் இது ஒரு பொருளால் மட்டுப்படுத்தப்படவில்லை மற்றும் அவரது கைகளில் விழும் எல்லாவற்றின் வழிமுறைகளால் கட்டுப்படுத்தப்படவில்லை, இது ஒரு வெளிப்பாடு கருவியாக மாறலாம், வண்ணத்திலிருந்து இயக்கத்திற்கு, ஒலி முதல் ம silence னம் வரை, அவர் திறன்களின் பற்றாக்குறைக்கு உட்பட்டது அல்ல, மாறாக ஒரு புதிய சாத்தியக்கூறுகள் மற்றும் ஒரு புதிதாக, மற்றும் ஒரு புதிதாக, மற்றும் ஒரு புதிதாக, மற்றும் ஒரு புதிதாக, மற்றும் ஒரு புதிதாக, மற்றும் ஒரு புதிதாக, மற்றும் ஒரு புதியது.
Artist Abu Halawa says: “Theater” Abu al -Banown “has come out of his closed tree and extends into it, in which his scenery is in contrast to his sketch, which is not just a place, but it is not just a place, but it is an outdated, and thereby, and thereby, and there. By that, and it is an outdated, and through it, and by it, and by it, and by it, it is an outdated, and it is an open space, and it is an open space. The effect of the war is frozen, and everyone who sees it reads it in its own way, as it is an illusion or a re -created miracle.
The experience of the artist Abu Halawa, the former president of the Fine Artists Association, and the Director of the Gallery of Labida’s Gallery, the Jordanian culture and contemporary renewal of the Jordanian culture and creating the deepest feelings and the social and humanitarian problems of nature. Since it appears in some of his paintings, he uses simplified and compression forms of flowers and faces to create civilized and human meaning related to identity and social reality. It demonstrates his course to simplify the components and focus on expressing psychological and emotional state, which is close to the compression technology movements that focus on changing the emotion instead of accurate realistic representation.
