In the Media


More than an introspective voyage into the human condition By Ica Wahbeh AMMAN — To know somebody, understand and “read” his feelings, one looks at the face, this most expressive part of the human anatomy. This is what Jordanian artist Mohammad Al Jaloos believes and what made him come back to the “interesting journey” of exploring faces. The “Abstract anguish” series, on display at the Foresight Art Centre, is more than an introspective voyage into the human condition; it is tinted with deeper philosophical thought and a labour of love that gives the artist “the joy of painting”. The mixed media on handmade paper, canvas or board are used to render abstract, almost minimal images. The stylised faces, often reduced to a simple T, appear in relief on a glob of paste that is the head, further disintegrating into entirely abstract shapes. Parallel lines are part of the faces, framing them, turning around like flights of stairs or like some huge footprints on pliant clay; they take one up, towards impenetrable heights, turn back on themselves, indecisive, or project the bottom of an abyss — following some mind pattern that ventures into the unknown, into obscure recesses, seeking knowledge, seeking to find itself or a place to hide in fear. The thick paste of colour is given depth and texture by these grooves. The whole could at times be perceived as an aerial view of a desolate landscape, one which the artist leaves his imprint, his faces and thoughts on. The faces are constantly framed by a rectangle, “breaking through the square and turning into something merely visual”. Individual faces come together on big panels divided into smaller squares, each holding a head/face. Features are indistinct, barely hinted at; they all look the same, or so they seem from afar. It is the anonymity of the crowd reflecting the human condition: alone among the others, each with his thoughts, feelings, life. The light beige, ochre and pastel colours acquire darker hues on another panel. The mood is sombre, but the idea is the same — squares framing each face, each with its own individuality and traits, yet somehow lost in the obscurity of the multitude. A few individual faces are surrounded by a frame of parallel lines etched into the acrylic and paper, a way of exteriorising feelings. The face is not furrowed, the lines are outside it, expressing cold detachment in a protective bubble. The mostly muted tones of beige, ochre and salmon at times give way to more vibrant tints: Red, green in all its nuances and maroon. And often faces disintegrate into abstract lines and specks. The parallel lines are a permanent motif, but there also appear a few conglomerations of chaotic curlicues, suggesting smoke or, rather, flocks of birds in flight or leaves blown by the wind. It is a metamorphosis of sorts, some connection of man with nature in a highly abstract way. Organic matter becomes inorganic in a set of smaller frames. Rock formations (conditioned as we are, reminiscent of Petra ), shafts of light, overlapping patterns of colour, the inevitable parallel lines, stalactites and stalagmites, narrow passages (for life, escape, new openings) are all there, in powerful imagery and colours. Yet, hinted at, extremely abstract but expected, faces seem to be peering out from these frames, challenging the viewer to decipher their mood in the tumultuous chaos that makes them. Calming but demanding to be understood, the faces, in a beautiful array of colours, are as mysterious as the Easter Island monoliths awaiting to be unravelled. The works will be on display until February 10. Wednesday, January 24, 2007

More than an introspective voyage into the human condition

By Ica Wahbeh

AMMAN — To know somebody, understand and “read” his feelings, one looks at the face, this most expressive part of the human anatomy. This is what Jordanian artist Mohammad Al Jaloos believes and what made him come back to the “interesting journey” of exploring faces.

The “Abstract anguish” series, on display at the Foresight Art Centre, is more than an introspective voyage into the human condition; it is tinted with deeper philosophical thought and a labour of love that gives the artist “the joy of painting”.

The mixed media on handmade paper, canvas or board are used to render abstract, almost minimal images.

The stylised faces, often reduced to a simple T, appear in relief on a glob of paste that is the head, further disintegrating into entirely abstract shapes. Parallel lines are part of the faces, framing them, turning around like flights of stairs or like some huge footprints on pliant clay; they take one up, towards impenetrable heights, turn back on themselves, indecisive, or project the bottom of an abyss — following some mind pattern that ventures into the unknown, into obscure recesses, seeking knowledge, seeking to find itself or a place to hide in fear.

The thick paste of colour is given depth and texture by these grooves. The whole could at times be perceived as an aerial view of a desolate landscape, one which the artist leaves his imprint, his faces and thoughts on.

The faces are constantly framed by a rectangle, “breaking through the square and turning into something merely visual”.

Individual faces come together on big panels divided into smaller squares, each holding a head/face.

Features are indistinct, barely hinted at; they all look the same, or so they seem from afar. It is the anonymity of the crowd reflecting the human condition: alone among the others, each with his thoughts, feelings, life.

The light beige, ochre and pastel colours acquire darker hues on another panel. The mood is sombre, but the idea is the same — squares framing each face, each with its own individuality and traits, yet somehow lost in the obscurity of the multitude.

A few individual faces are surrounded by a frame of parallel lines etched into the acrylic and paper, a way of exteriorising feelings. The face is not furrowed, the lines are outside it, expressing cold detachment in a protective bubble.

The mostly muted tones of beige, ochre and salmon at times give way to more vibrant tints: Red, green in all its nuances and maroon.

And often faces disintegrate into abstract lines and specks. The parallel lines are a permanent motif, but there also appear a few conglomerations of chaotic curlicues, suggesting smoke or, rather, flocks of birds in flight or leaves blown by the wind. It is a metamorphosis of sorts, some connection of man with nature in a highly abstract way.

Organic matter becomes inorganic in a set of smaller frames. Rock formations (conditioned as we are, reminiscent of Petra ), shafts of light, overlapping patterns of colour, the inevitable parallel lines, stalactites and stalagmites, narrow passages (for life, escape, new openings) are all there, in powerful imagery and colours. Yet, hinted at, extremely abstract but expected, faces seem to be peering out from these frames, challenging the viewer to decipher their mood in the tumultuous chaos that makes them.

Calming but demanding to be understood, the faces, in a beautiful array of colours, are as mysterious as the Easter Island monoliths awaiting to be unravelled.

The works will be on display until February 10.

Wednesday, January 24, 2007