z-paintings-001-Alaa-Awad 2018-11-15T11:22:50+00:00

The Artwork – paintingof the painter Alaa Awad.

Graffiti transformed along with the years as one of the greatest urban art manifestations to happen in cosmopolitan environments. It gained space in walls of big cities in striking, dynamic and amazing way, praising at the same time a visual conquest that aims pure comunication with masses, screaming loudly on panoramic images messages that words cannot express so colorfully. One of the meanings of graffiti’s language is the wishing pictorial expression of people’s thoughts as much as its social denouncings for a most wide and popular range.

Alaa Awad - Cairo 2012

The ceaseless murals that Alaa painted in Mohammed Mahmoud Street at that time, together with some other artists, became the witness of a battle field between visual arts and government power. The paintings were constantly erased (see bellow) by army forces but steadly repainted by the inspiring power of Egyptian Artists‘ protests.

Painting 02

Alaa Awad - painting

Painting 03

The fencing Elmermah, 100 x 70 cm, Acrylic on canvas, 2018

Painting 04

It is a kind of art aimed for the moment. It doesn’t restrict itself just for the rooms of museums or art galleries. The always arising question about the surviving of these works, exposed to weather conditions such as sun, rain and polution, makes its turning point on the idea that ephemeral can be sublimed to enjoyment as aesthetic cathegory while still present and alive. But it’s a momentaneous work that endures itself until the eternal, while it stays and endures, luckly visible  for those gifted  enough to see it! Like divine visions, epiphanies creating inner understandings that last forever!

Alaa Awad - painting

Painting 04

Alaa Awad - Paintings 2017

Painting 06

Alaa Awad - painting

Painting 07

Painting 08

Maybe we can consider graffitis as potential and virtual extension of muralist art, whose last explosion in the Mexican Muralist Movement in the thirties got a new proeminence as a political and social tool with such strong appeal and language until then never reached.

Diego Rivera, Jose Orozco and David Siqueros were the main exponents of it. Born from a crescent social conscientization between Mexican intelectuals, the muralist art found on those artists a catalyst nest for the expressed necessities of a social reformulation that was occurring since November 1910 with the beggining of the Mexican Revolution.

Painting 09

Alaa Awad - Mural - Nut Room 039 / France

Painting 10

Alaa Awad - Mural - Cairo - 2012 - alaa-awad.com

Painting 11

Painting 12

It is considered that this process lasted until the end of the forties, what places Rivera, Siqueros and Orozco just in the heart of the hurricane. It is important to highlight how much the language of murals is by some reason intrinsically connected with maximum expressions of nation’s needs.

Paintingof the painter Alaa Awad – The Artwork 

Alaa Awad - Mural - Marching Women -Cairo - 2012

„The Marching Women“ – Oil on Canvas, 2012

More rigid in shape, aiming their goals and bringing requests in their hands, they march in unison, as a single and unique body moving forward with harmony and independence.
There is a particular wisdom in the use of colors here. They create transparences on the bodies and the hazy enlightened green in the background seems to emerge from pure light and projects its nuances on the group, this one balanced by determination and reason, respectively red and deep cobalt blue.

Awad’s mural of a pharaoh smiting enemies on Mohammed Mahmoud Street 2012, a reminder of the ‚martyrs‘ killed during the Revolution.

Alaa Awad - Mural - Cairo - 2012 - alaa-awad.com

The murals started being part of people’s life…

„By the summer of 2011 people started to talk about the walls of Egypt being under an ‚art attack‘.“
Mia Gröndahl in her book ‚Revolution Graffiti: Street Art of the New Egypt‘.
Mural by artist Alaa Awad from Luxor

Always something is coming out from his palette, the Ba Bird blowing from the instrument like pushing the procession of women in front carrying ankhs on their hands as a symbol for supreme life.

Even exercing his many activities as an artist much before, Alaa Awad gained larger projection after the manifestations of Tahir Square in 2012, Cairo, an event that followed the insane massacre in Port Said Stadium on February 1 of that year. His graffites started then to reflect the attitudes of protest against the Suprem Court of Army Forces (SCAF).

The ceaseless murals that Alaa painted in Mohammed Mahmoud Street at that time, together with some other artists, became the witness of a battle field between visual arts and government power. The paintings were constantly erased (see bellow) by army forces but steadly repainted by the inspiring power of Egyptian Artists‘ protests.
Alaa Awad – Painting – Portrait

Alaa Awad – Painting – Portrait

The content is partly not available until you have agreed to our privacy policy.
I consent to the use of cookies and the privacy policy of this site. MORE INFORMATION

Die Cookie-Einstellungen auf dieser Website sind auf "Cookies zulassen" eingestellt, um das beste Surferlebnis zu ermöglichen. Wenn du diese Website ohne Änderung der Cookie-Einstellungen verwendest oder auf "Akzeptieren" klickst, erklärst du sich damit einverstanden.

Schließen