The artistic experience of Emad Ibrahim is considered exceptional and distinctive, with features reflecting the specialty of both his creative product and artistic persona. This specialty encompasses two contradictory factors: he is at once silent and revolutionary, combining both the apparent calmness of his life and personality on one hand, and revolution, rebellion and continuous clamour throughout his rich career on the other hand. He is among the contemporary artists who are capable of throwing stones in stagnant water, for his experience knows no monotony or repetition of themes that other artists mainly depend on to sustain their presence in the visual scene. He preserved his flexible working method which is rather misty in nature, allowing room for different interpretations while faithful to the issue at hand. The flow of creativity in Emad Ibrahim’s experience is modest, may be because of the genuine desire to document the perspective through visual art, supported with passion for painting - a main catalyst that he finds very apt to reflect his inner emotions.
Once again, Emad Ibrahim is very bold with a visual a fresh weave typical of all his works throughout his career. In an experience similar to what I refer to as "realistic cohabitation", he framed it this body of work between impressionism and expressionism. The impressionism is rich and quotes ancient Far East Civilizations. Inspired by the process of gardening and pruning around his atelier in the Artists neighborhood in 6 October City, Greater Cairo, Emad Ibrahim used creative solutions combining depth and flatness, as a result of trimming wall-covering (climbing) multi-coloured Bougainvillea. The other stylistic aspect of his experience, namely expressionism, depicts the undertone of his scenes as a conflict between stagnancy and activity. Such activity was experimented with, manifested in the golden touches within the interconnected flowers which helped in changing the scene with changes in light. All these elements contributed in making such experience deceptively simple, in which Emad Ibrahim sustained complete cohabitation where he depended on his consciousness of the art work and the deliberate practice of giving, taking, picking, selecting, deleting, highlighting... elements to serve his own viewpoint, imagination and impression of the scene and issue at hand.
The paintings apparently lean to colour spotting via the dichotomy between light and dark colours, yet they didn’t drift to Pointillism which tends to overtake the whole scene for the sake of harmony. We can also see in several scenes a state of depth and division of dimensions through separation between branches, flowers and leaves, as well as artistry in connecting these botanical elements. The different shades of yellow played a crucial role, especially in dealing with different life cycles of leaves. The depiction of live green leaves is also worth noting, imitating nature at its best. The works reflect the artists own impression from clear Eastern and Egyptian perspectives. Ibrahim depended only on a handful of elements, though he managed to best utilize them to enrich his scenes with shots that are inherent in our collective memories.
It is worth mentioning that this four-year-old experience of Emad Ibrahim is a visual approach to botanical elements through a feature that doesn’t necessarily attract everyone. Most artists will choose to use it as a space-filling detail or in the background amongst other elements. Here it is the main feature, and Emad Ibrahim managed not only to have it outside the boring patterns and bring it to the foreground, but also to have it become the forefront in the near future. I believe we are witnessing a new phase of Emad Ibrahim’s experience with new approaches to botanical elements.