Farouk's poetic personality is found within his Platonic statements also: "This painting comes from the inside. I cannot use words, only colors which are timeless, eternal." Here is a lyrical explosion," he says pointing to his painting that makes one feel as if enveloped in slow-moving white fog. Paradoxically, Farouk is an intellectual who has mastered the art of painting a sentiment.
An inexhaustible creative vein emerges from this world, and his work show suggestiveness and a totally new intensity.
A world of inaudible echoes, of sharp allusions, of secret intuition, which is a reflection of different moods and images of the unrestrainable flux of the specters of imagination and fantasy.
Hosny's work show superimposed glazes reminiscent of Afro, as well as, light reflections reminding Kline, but it has the thickness-too deep to be fathomed- of the desert's space, an immeasurable plane bordering with nothing: he gives us a symbolic portrayal of the land using the arid thickness of the pictorial material or shows us a velvety and deep night sky using airy light blacks.
Here is an apotheosis of painting that breathes deeply and through that motion becomes almost song .These works possess a fervor that, in the abeyance of passion, becomes contemplation.
Farouk Hosny's paintings fall within the realm of lyrical abstraction. The concrete process of patient stratification and ripensamenti is seemingly of no concern to him: when the painting is complete it must appear the work of impulse, with creative tension stretched taut from the first brushstroke to the last, producing the effect of a fine line of ink.
It is therefore with great pleasure that the Metropolitan Museum of Art presents this exhibition of the works of one of the most prominent contemporary Egyptian artist, abstract painter Farouk Hosny.
Philippe De Montebello
Hosny represents an overpowering and fascinating proposition within the new multi-ethnic culture that today characterizes the international flow of ideas. I refer to that culture in which the plan found behind poetic propositions is not the result of reestablished models (taken, more or less, from Jung) but only of a responsibility at the personal level.
Popular subjects for paintings include peasants, countryside, landscape, and folk motifs, which these artists feel reflect the true original spirit of Egypt. Many in this group seek to preserve Egyptian art from Western influence, thus standing firmly on one side of the dilemma. Yet they are unable to reconcile their goal of portraying the "real" Egypt with the fact that most of their materials, style_farouks, and art training have a European basis. Hosny and Henein, however, do not try to find Egypt through rural and folk imagery. Nor do they perceive themselves in danger of western influence. These are not their issues.