Ayman Saadawy and the Nile
Ayman Saadawy’s most recent artistic experience (May 2016) is a contemporary reflection of the artist’s self-confidence and the spirit that takes you to the realm of his memories. Saadawi’s sculptures share some similar aspects, but are always saturated with a genuine Egyptian identity.
His experience rests on several elements: the balance of his work, its presence and its freshness. Furthermore he captures the viewer by addressing his visual memories.
Though Saadawy’s eyes are used to different styles of different sculptors, as he contributed to the process of these sculptors’ technical production and exhibitions, he was never influenced by them. Instead, he tackled issues related to his persona, his origin, his background, and his own environment. In fact, he dug deep into his memories from childhood to adolescence, while reviving stories, games, vocabularies, events and fun times.
He visited a virtual place resembling the reality of his younger days that are engraved in his memory, and divided it by a thin line between the urban and that which is rural. He featured simple means of transportations, including motorbikes and livestock. He also portrayed individuals he once knew and lived with: a joyful boy, a cheerful girl, a beautiful woman, a working lady, a wandering young girl, a miserable youth, a well-built man...people from all walks of the life he has lived.
Dreamy girls with beautiful features and expressive looks are charmingly portrayed, in addition to playful children on livestock , bathing in canals amidst agricultural lands.
This latest exhibition by Ayman Saadawy, "The Nile", is a spatial turning point in his Art journey, one that does not transcend his philosophy in addressing his community.
His focal point is the Nile and how it impacts Egyptian day-to-day life and its effects on the vibrant human activity around it.
Sadaawy’s previous exhibition addressed a totally different concept; that of games toys and tools used by children, for entertainment... whereas
This exhibition takes a more serious note on human activity than his earlier exhibitions, focusing on fishermen whose only source of income is the river itself. With his usual distinctive dexterity, he insists once more to use bronze (the noble material), in addition to other mediums such as the Egyptian green marble used in "The Nile Bride". "The Nile Bride" showcases an Egyptian well-dressed girl proudly seated on deck of a stone boat whose bow and rear take the shape of the famous Egyptian papyrus.