Sameh Ismail illumination
You will not find in Sameh Ismail's works literal calligraphy or stereotyped motifs of the words using calligraphy for beauty or intonation as most of the ones who dealt with Arabic calligraphy as a source of inspiration or as one of the visual improvers did, but the calligraphy for the artist Sameh Ismail is an integral part of a system of contemporary fine art, where the calligraphy and the font tune with a faint wandering colors, in configurations free of strict fine art construction until it is almost flying over the surface of the painting to take off in visual horizons farther than we imagine.
In most of the works, the invisible space is an important major integral part in the formation of the painting, which gives a sense of infinity and visual extension to the work beyond the fonts and colors.
Therefore the works of Sameh Ismail have a wandering spiritual dimension; it has as well a musical dimension hugging the short melodies with rhythm as musical phrases coming from afar in fine musical compositions of the Soufi recitation.
Sameh Ismail comes out of this literal relationship between letters and texts - which is the source use of Arabic calligraphy in writing religious texts - to the spiritual text behind the words. The calligraphy of Sameh Ismail is not a reading of a silent text, but vision intonation mirth for the eye and ear.
The Fine Art configuration of Sameh Ismail usually depends on plastic linear frequency groups in vertical or horizontal sequential. It sometimes combines these two consecutives and tends also to use the paradox of color between the calligraphy that looks spontaneous and areas of soft colors differing in degree of darkness to cause a kind of polyphonic or multi vision with the constructive formation, which enriches the work and moves the conscience on multiple levels, it also inspires the viewer joyful, sensual, funny and transcendental effects.
In addition to the lines, oriental Arabic motifs merge with the configuration like chanting a tune of heritage melody including the repercussions of offering of the Islamic art and the depth of history, where these motifs do not impose its influence to the work but hovering from far as shadows from the distant past.
And in this group, Sameh Ismail takes from the small square and its movement, a chanting rhythm, and under some of the rectangle sides a shape that governs the formation of some of the paintings, it might be blunt, dark or faint hiding behind the fonts and colors that jump to the front view of the painting, and that rectangular frame adds a kind of steadiness and stability unlike paintings that miss them, which is characterized by excessive vitality and a dancing dynamic. When we contemplate these paintings - and they need, in fact, to contemplation and a slowed vision - joy, freshness and pleasure permeate you, as if you opened a bottle of perfume of ancient oriental perfume and inhaled its scent, which mingles the smell of lemon-, orange blossoms and lotus flowers.
Sameh Ismail has deservedly managed in blending movement with silence, and endurance with impulse, the blast-off and liberation of the rigidity of writing and the alphabets of texts to write a visual text like a musical note which has tunes as lines and melodies as colors, he also succeeded - while many others failed in completing Fine art works inspired by the Eastern heritage of the Arabic calligraphy without becoming just a review of the aesthetic calligraphy or improving writing a text.