The Artwork – paintings of 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.
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.
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!
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.
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.
Paintings of the painter Alaa Awad – The Artwork
“The Marching Women” – Oil on Canvas, 2012
Awad’s mural of a pharaoh smiting enemies on Mohammed Mahmoud Street 2012, a reminder of the ‘martyrs’ killed during the Revolution.
The murals started being part of people’s life…
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).