Ali Najjar
Born
in Baghdad. 1940
Art
diploma in fine art.
A
member at.
Iraqi
Art Association.
E.U.
MAN
South
Sweden Art Association.
Great
participations.
First
Arab Penal 1974.
Kuwait
penal 1977.
Exhibition
of modern Iraqi art< Moscow 1978, Berlin 1982.
Baghdad
Int. Festival for plastic art, 1986, 1988.
Third
Cairo Int. penal, 1988.
Havana
Int. penal, 1989.
The
Outside and Inside exhibition, EST. Petersburg. 2001.
Exo
Art, Porvoo Gallery Art. Finland, 2003.
He
has twenty-one men show in Iraq, Jordan and Sweden.
Collections:.
Art
Museum Bagdad .
Kulturminister,s
Musem Amman
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These works lead
us back to a style, which I had adopted in previous transformation. I enjoyed
taking up that style for a certain period of time. I had the intention of
departing it-as I Really did in some works- so quietly. I quit the style, but I
also remained adherent to it. Despite the ongoing attempts to shake the style
off, certain impacts and effects will definitely remain there as a sign of the
root of the newly accomplished work. The living conditions and the problems of
the third world artists could be playing a role in this. Romanticism could also
have a hand. What’s new here is the attempt to invest the spontaneity, which
I adopted for a certain period of time, to create intentional projects that
don’t go far beyond the source of an environmental significance dedicated to
contain a scene that I have missed in my previous works. These works did not
conceal their external sources, i.e. nature, in as much as they had
dedicated nature to celebrate the glare of its talent components beyond their
background.
In the last decade of my
experiment, I used to release my innocent beings within a wide zone of style,
allowing them to wonder in the Mythology of Innocence, I took important steps
in 1991, 1993 and the following years. In the wake of all this, I sought to put
behind the clamour of a totally unfaithful, negligent and vicious world.
In my
art-orientation, I went for the inspiration of the most innocent human effect.
That was the world of the inspiration motive of the ancient myth as well as the
imaginative literary texts of the Middle Age.
What I am
suggesting here is not a dream. It’s not a metaphysical scheme either.
Rather, it is an attempt to topple the engrossing effect of the surrounding
environment. It is also an attempt to embrace whatever purity is left for us.
Ali Najjar. Amman. October 1998
………………………………………………………………………….
Dr. Assem Abdul
Amir
Ali Najjar is another example of an
artist who displays total engrossing in drawing and may be in sculpture as
well. A genuine examination of the results he has achieved shows that he is an
artist who is well aware of his mission, and who exploits this awareness to
overcome all the shortcomings, which human beings suffer. He adopts a style
which blends reality as a cause, and mythology as a date, thus making us sure
that his orientation enjoys a special novelty both in content and form.
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Article by: Belassim Mohammad:
Is there a possibility of
writing about color affinities and transferring them into an understandable
language? This percussion stirs in our conscious the idea that the symbolist
lit field in which these works function comprises tow basic focuses, the first
is of self-aesthetic (dictionary) and the other is hypothetical and is
experience-acquired.
The works of artist Ali
Najjar in the first field do not stand for totems a, icons and distinguished
beings; but they represent a system of color signs interwoven within the
limits of the field in which the whole system of the gallery works as an vital
unit intermingling between the color and it counterpart and between the color
and it counterpart and between the color itself as a symbol.
Whereas the second field (acquisition); it only comes out through the general
knowledge of the modern aesthetic sign which explicitly reflect the capability
of modern art openness on more than a language born by experience.
These works centre around the focus of the white color which, together with
the whole elements of the work; Framework, whiteness, a touch or contact,
forms a linguistic unity (amoeba) which extends and occupies a vast area in
our conscious to the extent the we consider the figure’s tone the most
universal object that gives a meaning to the relation between the sender and
us; this tone sounds unfamiliar and any study of such structure requires
arriving at traditional terminology. That’s to say; it is transference to
meta-meaning where color is formed extends and where blocs are formed in a
space of absence, which is the white color.
These works reflect an idea a special style that is a combination of knowledge
and experience.
Belassim Mohammad, 1997
| علي النجار | |
| متاهات تشكيلية | علي النجار |
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النجار
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| مابين حرب وحرب .. تذكارات لا تنسى | علي النجار |