Amnah An-Nussiri to Yemen Times:”Respecting the life principle will make us believe in all good morals and justice”” [Archives:2003/638/Last Page]”
June 2 2003
 |
The aesthetic heritage of industry and antiquities souvenirs remain in circulation for generations depicting different images of history.
Through art our forefathers' creative works remained engraved in our memories.
We as Yemenis possess a large collection of heritage from successive civilizations and bygone dynasties. History has preserved these facts through those artists who lived t`hose events.
In our country creative works face a lot of problems and uncountable difficulties in form of complicated routine measures and non-encouragement of artists in different fields of art. This makes many artists avoid coming up with their creative works.
The Yemen Time reporter, Mohammed bin Sallam has recently interviewed Amnah An-Nussiri, a distinguished female artist and filed the following interview:
Q: Why the exhibition has been called Creatures, (Ka'aenat) and what is the new in it?
A: First of all, Ka'aenat is the subject my portraits are centered on. The idea of those paintings have come to my mind during the last years has come as a result of my occupation in the mystical philosophy .
The devastating wars along with current natural catastrophes and crises have made me search for more meanings about life and the human existence.
Those artistic collections have been existing and signify the great importance of life and relationship of intimacy among the animates. Even the inanimate things have become animate ones with the passage of time. We in our old warm houses, deal with them and consider them as partners or friends of the world of our own. It is important that nowadays, we have to assert the right of justice in life peace, and safety not only for man but for the entire animate things, considering man the superior creature.
Respecting the life principle will make us believe in all good morals and justice and that the universe will be featured by purity. The newness is far away from the content which we have talked about. This manifests itself in the use of the new different technology for those experiences. The first time I paint is through the use of pieces of fabrics and thick colors and trying hard to avoid the decorative style.
Paintings in this case depends entirely on the nations' ancient folklore which convey symbolic connotations.
In such paintings, the painting processes are not restricted to the brush.
Other devices have been used such as, painting knives and other invented devices which have helped me a lot in presenting a new color form in the surface of the painting.
Q: The exhibition has gained high attendance, is it ascribed to the public's interest or to your profession of journalism at both local and Arab media?
A: I think the profession of journalism is on different issues particularly in the field the philosophy of arts, aesthetics, and plastic art despite of complexities of its topics has greatly helped to establish links between me and the people.
It is of great significance these days to attract the people's attentions of the optical arts using all different means and methods.
I see that the critical writings are one of the most successful writings to make them closer from art's notions and to raise awareness among the public.
This has positively reflected through a host of attendees and that their minds have been captured.
The tremendous successes of the formative arts exhibition of the viewers and organizers at the French Cultural Center.
Organizing such exhibitions and the selection of places is an indispensable factor either in making a success or failure of any exhibition. Preparation have been fully organized by the French Cultural Center.
Q: Does your academic career interfere with your profession at Sana'a university and as a plastic artist?
A: There used to be a certain kind of clashes between the two interests. Both of those two require too much efforts and time. I have left no stone unturned to include the two interests.
I have actually greatly made use of the academic career in the creative work and vice versa. This has made me to acquire academic practices and the result is that new horizons have been enlarged and wider vision have been assimilated for the theories of arts and philosophy.
Q: Do you insist on maintaining the portrait as a traditional one, (subject-matter) along with the (form) even if it is classified as a modern one?
A: Never, because the content in the painting has not been longer understood. Today, the form itself has been understood
In this style, I have been influenced by the Arab formative artists. The content in its traditional meaning is inspired from my painting as a result of influence of the Arab formative artists. Is of great importance that any artistic work should have a local story and that is called the literary dimension of the painting. Besides, if a formative text is achieved and mostly concentrated on the form relationship, this doesn't mean that it is possible to achieve the portrait without a vision project. Because the artistic experience is the creation of the project and vision. This doesn't also mean that one shouldn't restrict himself to a local subject-matter. No separate titles for any experience in Ka'enat. There is a philosophic vision based on the creation of paintings. This of course does not drop the significance form in the first place.
Q: We have learnt that you are about to transform most of experience to personal exhibitions, when will this be and when?
A: I have received several invitations from countries like, Egypt, Tunisia, and Sudan and I don't know what to exhibit.
Q: Is there a special effect taken from the local environment in your works?
A: I deal with the plastic art as it is a human heritage opened for all people. My paintings have been inspired by the art history in accordance with art requirements.
All nations' heritage has attracted my attention and greatly influenced my experience. But the Yemeni legacy has a special effect on my paintings. It is impossible for any one to be influenced by a specific culture and live in a land a way from isolation from its arts. Local features are detected easily in my paintings and I feel proud of belonging to this creative affiliation. When exhibited in Europe, a lot of comments on my paintings are raised despite of their being modernized.
Q: What is the level the plastic art movement in Yemen compared to any other movements?
A: The problems of such art can be attributed to isolation and not keeping in touch with other Arab as well as international cultural activities. Other reasons can be attributed to the slow-down of public's awareness. In order to produce a serious masterpiece, the Yemeni artists face difficulties.
——
[archive-e:638-v:13-y:2003-d:2003-06-02-p:lastpage]
