eL Seed - The Cairo Exhibition by ArtTalks

THE CAIRO EXHIBITION

O p e n i n g R e ce pt i o n 10 December 2016 6 to 9 pm Exhibition 10 December - 10 January 2016

THE

CAIRO

EXHIBITION

By Fatenn Mostafa

Since that revealing moment during childhood when he lied down in a garden with his face touching the grass, Adam Henein (1929), the Arab world’s most prominent living sculptor, has never ceased to observe, dissect, and explore Mother Nature. Seemingly eager to escape from man-made matters, a part of Henein found comfort and peace in an underground-inhabited universe that silently exists parallel to the more apparent and contrived world. Henein’s perception of reality was challenged once more, when as a pupil at the Tawfiq Primary School; he was introduced to ancient Egyptian art during a history class fieldtrip to the Egyptian Museum of Antiquities . ‘I went crazy as soon as I stepped in’ recounts Henein, adding ‘suddenly I was discovering another world and I didn’t know if this was reality or imagination’. The two worlds, Mother Nature and ancient Egyp-

tian art, would shape and have a significant influence on Adam Henein, his art and prolific international career. To transcribe the secrets of the Art of the Valley, Henein chose sculpture as his primary medium. In contrast, painting, according to Henein, would be the means to tell the story of Mother Nature and its relation with Man. But painting would also be the means to make ends meet, when as a mid-career Egyptian sculptor, Henein moved to Europe ‘to learn everything about art’ in 1972. Together with his late wife, Afaf, he stayed in Paris for 25 years until 1996 and produced a large number of paintings. Best known for his sculptural works such as Fatma (1953), Cat (1961) or the legendary Om Kolthoum (2003), one could be tempted to break down Henein’s artistic oeuvre into periods. But in essence, form manifests itself as his foremost preoccupation. Henein goes through phases where he extensively

in, his art and prolific international career. To transcribe the secrets of the Art of the Valley, Henein chose sculpture as his primary medium. In contrast, painting, according to Henein, would be the means to tell the story of Mother Nature and its relation with Man. But painting would also be the means to make ends meet, when as a mid-career Egyptian sculptor, Henein moved to Europe ‘to learn everything about art’ in 1972. Together with his late wife, Afaf, he stayed in Paris for 25 years until 1996 and produced a large number of paintings.Best known for his sculptural works such as Fatma (1953), Cat (1961) or the legendary Om Kolthoum (2003), one could be tempted to break down Henein’s artistic oeuvre into periods. But in essence, form manifests itself as his foremost preoccupation. Henein goes through phases where he extensively experiments one particular technique or media, proceeds to something new and yet consistently revisits the former again. Best known for his sculptural works such as Fatma (1953), Cat (1961) or the legendary Om Kolthoum (2003), one could be tempted to break down Henein’s artistic oeuvre into periods. But in essence, form manifests itself as his foremost preoccupation. Henein goes through phases where he extensively experiments one particular technique or media, proceeds to again. Henein goes through phases where he extensively experiments one particular technique or media, proceeds to again. Henein goes through phases where he extensively experiments one particular technique or media, proceeds to again.

Zaraeeb C airo 2016

To transcribe the secrets of the Art of the Valley, Henein chose sculpture as his primary medium. In contrast, painting, according to Henein, would be the means to tell the story of Mother Nature and its relation with Man. But painting would also be the means to make ends meet, when as a mid-career Egyptian sculptor, Henein moved to Europe ‘to learn everything about art’ in 1972. Together with his late wife, Afaf, he stayed in Paris for 25 years until 1996 and produced a large number of paintings.Best known for his sculptural works such as Fatma (1953), Cat (1961) or the legendary Om Kolthoum (2003), one could be tempted to break down Henein’s artistic oeuvre into periods. But in essence, form manifests itself as his foremost preoccupation. Henein goes through phases where he extensively experiments one particular technique or media, proceeds to something new and yet consistently revisits the former again. Best known for his sculptural works such as Fatma (1953), Cat (1961) or the legendary Om Kolthoum (2003), one could be tempted to break down Henein’s artistic oeuvre into periods. But in essence, form manifests itself as his foremost preoccupation. Henein goes through phases where he extensively experiments one particular technique or media, proceeds to again. Henein goes through phases where he extensively experiments one particular technique

Acrylic and spray cans on canvas 3 canvases, 90 x 120 cm each

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