Exactly like the beginnings of color,

Self’s Monologues … A view of Bashar Al-Hroub’s works

by Ismat As’a

Through the usual moments of making art, we find ourselves being taken to places we fully understand, while, in special cases,

we can live these moment within “composition merits” that are meant “to be” by the artist. The artist leads us there through the

special overlapping composition terminology connections, and that are bind to the vision itself. Whether the artist is taking us

through “the rule of the color” or “the rule of the line”, or even if it is being done through a state of rule that comes in a “state

of shape”, this visual language combines both sides of the creativity artist/viewer equation. Yet, this is just another element that

can never be lost of the artistic self’s sight, or in more precise words “the process as a whole”, even if that isn’t tangible, nor

exposed in a cheap simplicity, especially when this has to do with an artistically naïve eye –only in terms of artistic taste. This

issue has to do with a deeper level of the term of “Noise”; in a special metaphor of that audio noise that lives inside us, all around

the hours of our days.

Black holes... another metaphor

Taking this artistic metaphor as a base, there are many clues that can be extracted from any process of understanding, even if

they were in there simplified forms, for they indicate shifts that have to do with the sciences of space and astronomy in terms of

the phenomenon of universe/composition related black holes, that are taken from the merits of composition given by the artist,

that can’t be missed by any sight nor any vision. These merits lead us to the worlds of the phenomena existing in the depth of

our universe, so as to meet the depth of our hearts as human beings. As a result of these metaphors, we can see that wide universe

living deep inside the artist, and we can –metaphorically- put our hands on the size of the silence coming in the shape of –black

holes-with their full colors, so that we can recognize the theme later on, since it is a special vision of some unspoken words,

appearing to us in the form of a composition. This composition stand before us covered with (all what can be said, or what can

be).

Then we will see that “color- intellectual” richness, through the differences between the links combining the phenomena

generated inside the artist, and his ability to (keep) these –astronomic-pillars that are surrounded and made in circles occupying

a specific space of painting, with the dialogue resulting from it, even if most of it was no more than silent gestures with a loud

color and shape noise.

It could be that the artist is sending these cries as if they were artistic cries of distress that Bashar masters very much, knowing

in advance that these cries are nothing but “therapeutic visions” mastered by the artist in a special manner, applied on the

rebellious artistic taste, through the action of watching imposed by the artist by making his audience follow the elements of

motion. Bashar does all that through the formations of his artistic works-that their non existing ending point is similar to their

non existing starting point-as if they were-once again, another odd insistence on repeating a composition example that keeps

crawling into the viewer’s artistic taste.

The artist’s aim here is obvious now-the clarity of black holes- occupying spaces deep inside us as human beings living in

this –hot- area. Thus, these holes became ready to increase day after day, reminding us all the time with the seriousness of

the post-ego problems that the artist is trying to tackle. Though the artist has always been quite despite the loud monologue

cries that lived in his mind and thinking, we find that that quietness is resounding, most of the time, as a “call for prayer” in

a “worshiping” moment that is so similar to the artistic tasting process. Through that process, we can see the “therapeutic”

potentials mentioned above, which are always predicted by arts, especially when blackness-like the one we are covered

with, is being lived every day. Note that the artist tried in his works here to establish a color balance for the blackness idea

mentioned above. The artist then wanted to establish a wide “white”color composition so that he can start an equation of a

different kind, that can result in that safe peace that we feel through the action of watching.

Ismat As’a