The Delight of Revelation
Dr. Amal Nasr
The Admission of Abd El – Salam Eid to the world of Art was not conforming to the classical
concept of painting, as “the Art of coloring a flat surface”. He entered that domain with a liberated
vision, aiming at experimentation and disclosure. He was not looking for a model within
him, but he continued his search and discovery. He gave the Art of Mural Painting the vastness
of contemporary paintings, incorporating all liberation possibilities, in form, content, and material.
Thus, he brought mural painting out of its old concept that was limited to Fresco, stained glass, and
Mosaic, towards a new concept, which were reflected in his colossal murals. There were additions
of unfamiliar materials that enabled his installations to be remained firmly established, in harmony
and concordance with the architectural structures around, thanks to his technological capabilities,
and superior control. In his murals and installations, there is a mutual harmony with relevant architectural
surrounding. He uses materials that are out of the traditional mural technological domain
such as Mosaic, Fresco, ..Etc, in addition to his own creations of objects and findings. Examples
are empty bottles, electric wirings, integrated circuits, models, coins, segments of relief paintings,
cupper strips, processed textiles, pottery vessels, and ropes, ..Etc.
For the painting surface, Eid has polarized all material possibilities, together with concrete objects.
Even in his exploitations of the painting‘s elements, such as lines, textures, and colors, he doesn’t
apply them in the usual way of painting principles, but he is reshaping his objects with a solidified
(petrified) cloth multiple plies, through the effects of synthetic powerful glues( epoxy resins), and
textures, emerging by making a variety in the glued textile structure. We would have the, networks,
Dantyl, ropes, and carpets..11..etcthis beside ready objects that are replanting with suggestions,
such as screws, wires, nuts, porcelain dishes, artisans tools, bamboo, and wooden fragments,
sheep’s horns, papers, cupper balls, handmade tablecloth, or what he prepares himself. He also
uses multimedia in his manipulation. In many of his artworks, we notice familiar items, but it seems
brand new, thanks to his expressive formalizations.
A surprise searcher, ambitious, and meticulous. He believes that” in the history of a painting, there
is nothing lost: from the first line to the last touch”. In his last experience, he seems to be an exceptional
runner, as he can’t stop his passionate love for the unknown, so he is continually moving from
a revelation to the other. An experimental tendency that about to be a part of his human character.
Since his childhood, he was an adventurous child, who went far beyond his comrades of the same
age. When he grew up, he realized that the artwork is contingent upon the revelation potential. The
fall of some artists occur when they believe that their artwork is the first and last.
The logic of Eid reminds us with the eloquent saying of Picasso”… When we start a painting, we
may fall upon enchanting discoveries, but we have to be careful, and shatter what we have created.
We have to remake it several times. When the Artist shatters every glittering thing, he actually
developing it, it may bring forth a cream fruit of all rejected discoveries. If I didn’t make that, would
be flattering myself…”
Eid is a responsible experimentalist and this mean that he is only in search of the new, the freak, or
the unexpected, without any reasonable content. He is actually concerned with the human issues,
and the cycle of civilization, its rise and fall, with a deep insight into the wisdom of history, that is
why we always find in his artworks myriads oh historic symbols, and prophetic signs. The Art of
Eid has not only based his artwork upon balanced formative relationships. He didn’t halt at the aesthetical
boundaries of the form, but he includes, in his artistic experience, a new aesthetic aspect,
that stimulate a sensible desire for discovery, understanding, curiosity contemplation, in addition to
a sense of mystery, and expectation…and other elements, that are constituting the contemporary
Therefore, the artist was not in pursuing of shocking effects, to stimulate reactions within the recipient.
In addition, he did not contrive to boldness for enhancing these effects, in a thoughtless experimentalism.
He has been charged with all the surrounding issues: from cosmic, a philosophical
issues up till the suffering of a layman. Although he is too bold in his artistic concepts, but he belongs
to those mentioned by the Spanish author Eduardo Gonzales lanoza “.. The genuine creative
Artist possesses that innate boldness, which is actually in existence… he astonishes us with what
he unemotionally achieves, without resorting to the trick of additional boldness…”.
The Works of Eid do not lose its brilliance after the first encounter, but it maintains its fructification,
because it is loaded with intensive meanings, that enable a variety of reading. He believes that
experimentalism is not mere a shocking exhibitions, and to belong to contemporary experimental
streams is not a matter of introducing an Art which is void of values.
Eid believes that experimentalism is a main part in the creative experience, which should be based
upon new concepts, and not depending upon preconceived entries. He was always certain of success,
as far as he believes in the infinite alternatives. He always prefer establishing new paths… in an
unknown land, he never enters a jungle that he knows its labyrinths…a real artistic delight for him.
Therefore we cannot apply a conventional approach in following up the endeavor of Abd El- Salam
Eid, as he is not possessing an ascending or descending diagrammatic line, but he has a multiple
parallel diagrams, among them he looks venturing. his passionate love for experimentation is the
outcome. Painting for him is an inquiry adventure that is equal to the glowing of life itself.
Dr. Amal Nasr