Acrylic on paper and mazonit 64 x 45 cm 25 x 18''
Born in 1917, Egypt.
Died in 1985.
Hamed Abdalla leapt into the unknown, having no academic background other than graduating from the School of Geometrical Ornamentation in 1935.
He became a star in the universe, tracing his orbit, combining his vision of the Egyptian reality with the contemplation of the infinite, rebelling against tyranny and humiliation, burning in the love of the homeland and building a mighty bridge between East and West.
His individuality and early independence set him apart from the academic artists, and from the groups and movements of the thirties and forties. He was always a pioneer, never a follower, founding his own art school in 1942 where he taught many famous artists such as Taheyya Halim and Indji Aflatoon, until 1948.
Despite Abdalla’s independence from the artistic movements of his time- such as the ‘Art and Freedom’, ‘Contemporary Art’, and ‘Modern Art’ groups-, he shared the same revolutionary inspiration, politically and artistically, but his had matured on the fire of the 1946 uprising of workers and students in Egypt. is inspiration never left him, expressing itself in various ways.
He lived a large part of his life in Europe, about 30 years, where he was exposed to the modern art movements, and he integrated some of their pioneering ideas in his formal language. He maintained a critical distance with them though, wary of the danger of cultural assimilation with the West.
His works based on Arabic alphabet letters were a solution to the challenge of combining his cultural roots with the modern form and with his political engagement. Resolving this equation behind his letter based paintings, since he was devoured by his love of the homeland and his desire to help raise it from its sorry state, was of utmost importance to him
His late works came closer to a pure art form, as if he had reached a kind of ascetism or Sufism. He tried to embrace the absolute and the unknown, to dissolve in the infinite universe. In doing so he suffered great pain and angst, which he expressed in ‘Convulsions’, his latest period, between 1980 and 1983. In this series, we feel an extraordinary bond with nature, in particular mountains and rocks- though we can’t be certain of the nature of these elements drawn in monochromatic grey transparencies. Beyond the wrinkles, the spikes, the splinters, beyond the spiritual torture they convey the thirst to unlock hidden secrets, they reflect a certain serenity, a walk into virgin territory, under the light of the moon or the rays of dawn.
Hamed Abdalla is a hawk gliding along the universe, bearing the spirit of Horus, and flying home to live in the conscience of his country, after transcending the pain of exile.
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Hamed Abdalla – Selected Works, Cairo, EGYPT
Exposition Oum Saber et le paysan éloquent, Centre Culturel Français d’Alexandrie, EGYPT
Exposition rétrospective, Galerie Mashrabia , Cairo, EGYPT
Exposition particulière : Centre Social et Culturel, Colombes, FRANCE
Exposition Hommage : Centre Culturel Égyptien, Paris, FRANCE
Centre Culturel Égyptien, Paris, FRANCE
Exposition rétrospective à la Galerie de Lappe, Paris, FRANCE
Exposition commémorative à l'Atelier du Caire, EGYPT
Exposition rétrospective au Musée National, Damas, SYRIA
Auction Modern and contemporary Arab and Iranian Art Sotheby’s London, UK
Pionniers de l’Are Contemporain Égyptien Galerie Safar Khan, Cairo, EGYPT
Art Exhibition of the Palestinian Resistance Musée de l’Art Contemporain à Teheran co-organisé avec OLP, IRAN
Exposition rétrospective, Odense, Galerie K.K. Copenhague, DENMARK
International art fairs
INTERNATIONAL ART FAIRS
Art15, London, UK
Exposition de groupe à l’UNESCO pour la Palestine