The Agony of Contemporaneousness

Dr. Naeem Ateia

Amid such gloomy rooms,
my days are heavily slipping by
To and fro, I walk looking for windows
It would be a solace, when a window is opened…
but there are no traces for it,
Or I may not be able to find,
It would be better that I will not find,
Perhaps, light is a new agony
Who knows…?!!
how many new things would be revealed..?
“ Constantine Cavavis – The Windows ”

Abdel Salam Eid is an artist who possesses a contemporary vision. And we can easily say
that it’s a futuristic one. He sees, Like our mythological maiden “Zarkaa Al-ymamma” far
beyond what his surrounding entourage can detect or see. This because his means for visibility
are not sight, but insight.
He immerses his looks in the essence of our time…providing us with images that are relating with
creative visions, which may seem to those narrow sighted as trifles. They whisper to themselves,
and to others: from where he brings out these scenes..?, we have never seen such eccentrics…!!.
Indeed , such scenes are existing around them…within them…it’s their destinies. To be unable to
perceive existence does not mean that it does not exist. What a bad man, who has buried his head


in sands, like an ostrich, saying, I don’t see…I do not want to see. Truth is an objective entity. It is a
vast domain. You have to strive to reach and assimilate that reality, and that what Eid is endeavoring
to achieve.
There, his plastic venture is concealed, he is inviting and provoking us to share in, going with him
to discover aspects of an existence, that is no longer human centered, but man became a drop in
its ocean. That is why we are shivering in front of some of his landscapes. For they are largely predictive.
Before these paintings we exclaim, whispering to ourselves: “…how strange and amazing
…are these scenes…!”. I bow my head down for the sufferings of the era that are manifested in the
artwork of Abd El -Salam Eid.., for such holy war. For the creation of a unique masterpieces, not
like any previous ones. We must receive and accept them welcomed, first because it’s a choice for
a hard course, which is no less than digging in the rocks with nails alone..!!, and second, because
it’s an invitation to look beyond high barrier walls, that are veiling any extension of sight beyond
The returns of such suffering, that Eid provides its fruits, are the result of avant-garde’s endurance,
and an extortionate price, paid for the postmodernism. Therefore, our artist broke his compass, and
left his sails for the winds of coincidence, as a daring sea drift, he was able to avoid the magnet
mountain, when he built his ship without any metallic bolts. Now he is darting towards the unknown
horizons… a plastic art creative venture, through successive stages of experimentation.
Eid’s experimentalism is abstract to the core, extends to the form just as to the essence. In addition,
it spreads to the applied tools and materials for expression, where they reflect his appreciation
mode for artistic bearing, and how he perceives the whole existence, and thus driving him out of
a confined realm, towards a world, which is replanting with interactive technological and scientific
influences. That is why; his artworks are always appearing in a very strange aspect that comprises
all mechanical, electrical, architectural, and chemical achievements. You may exclaim before his
landscapes: “..Where these scenes are coming from..?”. The answer could be “they could be devastated
lands, which had been exposed to a nuclear explosion …extraordinary sceneries, seen
through a predictive insight. Absence of any life signs may have been a result of some scientific
experiments that left the human beings in a continuous suffering.
Eid exploits his expertise in painting, sculpture, graphic design, and collage to realize his art forms.
Coexisting with time, he exploits, all sort of his materials, even workshop waste and scraps, in a
continuous search for the aesthetical aspect behind traditional and stylized concepts…Over there,


he is trying to rest orate a consistent and harmonious link between
art and technology. We may notice his repertoire of material.
It’s not that tender appropriate, either pastel, gouache, or traditional
oil paints, but look at his arrangement for his elements,
and scrutinize the valiances and independence, with which he is
holding fast, so that his artistic donations are coming free of any
raggedness or fluidity, but in the same time: convincing, tender
and caring. His creations are gushed forth from a young crag that
has not consumed, destroyed, and vulgar, like others, due to ruminations
of songs, which had been over shadowed by spider’s
web and monotony.
In contrast with advocates of Dadaism, who went to the anti machine
camp, demonstrating in their works its malicious effects,
or at least they were skeptical of life under jurisdiction of machineries,
Abd El Salam Eid, entered to the technological and
industrial domain without fear of leaving bad marks on his art.
On the contrary, he introduced reconciliation between man and
machine, using in his installations many of its constituents and
elements. It has become acceptable to see gears, refundable
canes, wires, ropes, and various raw materials, which had not
touched by any artist, among the components of his structured
creations. I could not put aside the idea that Eid may introduce
an electrical or mechanical power to his installations, and thus
disseminate life and vitality within them in situ. I imagine Eid as
tamer of exotic beasts from the jungle of modern technology. He
addressed his Exhibitions visitors:”..Do not be afraid of these
synthetic creatures which if misused indeed, they may deform
the human life….industry without the artistic and human touch
is a destructible Monster. Only believe in the artist, depend upon
his credits… he would be able to render your life, in that world of
technology, bearable and acceptable. Life would be more affluent,
more secured, when imagery and innovations become more
The land that Abd El- Salam Eid is plowing, with his capability of
innovation, his determination for supremacy is indeed black like
the promising alluvial of river Nile…with the loftier fruits. Let us
go with him to that land, blessing his efforts for the sake of an
open Art. Like his native city Alexandria, which is widely opened
for the widest prospects?

Naeim Ateia