Emad Ibrahim is a master at capturing specific moments charged with details of daily life whether in a train station, in the market, or even in a Moulid street celebration.
These moments are linked together by the fact that they are all the product of the artist's connection with specific events.
These moments are loaded with the essence of the diligent Egyptian, whether in his pursuit of a livelihood, his life journey - symbolized by the train - or the spirituality at the core of folk culture incarnated in the Moulid Celebration.
In his current exhibition, "Diaries of Dahshour", artist Imad Ibrahim depicts scenes from his memory collected during mornings he had spent contemplating faces in Dahshour Market. It was by mere chance that he was led to the train that carried him without any pre-planning, and dropped him off in the darkness of the night at the crowded station where he stayed until the first light of the day in Mazghona - Dahshour.
The few minutes separating the cold of the night to the warmth of the day were inspiring and magical enough to settle in his conscience for nearly twelve years!
This experience prompted him to repeat the visit over and over again and to pour his experience loaded with all his emotions on the canvases of his latest collection, revealing different kinds of representations.
In an effort not to loose the essence of the fresh vigor characterizing the sketching technique, Ibrahim recreates the scenes in quick strokes using oil-pastel and acrylic, thus preserving the spontaneity and the load of emotions associated with the said technique. A good example is the movement and the commotion of the market place that is conveyed vividly to the viewer.
In fact Ibrahim’s painting resembles a dance, in which people and animals seem to share a strong bond oscillating between kindness and firmness.
In spite of the bright and cheerful colors that characterize Ibrahim's art, present in his previous exhibitions namely "Bougainvillea“, “The Orange Girl" and "ElMouled", there is a hidden drama that inhabits his canvasses, reflecting a certain melancholy that usually accompanies the human suffering.
To portray that dramatic mood, Emad Ibrahim gives up completely his colorful palette, apparent in a series of paintings entitled “Tales of The Pomegranate Tree" where one of the works evokes the scene of the Christ’s crucifixion.
In Emad Ibrahim’s paintings, protagonists merge in a group, except for one figure that stands out, turning to the viewer to reveal himself as a narrator, who does not “narrate using words “ but rather translates words into lines and drawings, gazing with expressive eyes which Emad Ibrahim masterfully renders.