THINKING OUT OF THE BOXIn 1978, I launched my artistic career, as a professional artist, by using a symbolic technique mixing between figurative school that drew upon the designing structure of the painting and a number of mythological and physical symbols. Following that I switched gears to an expressional technique by adopting a merger between the composition structure of the academic painting Style and the freedom of color expression.
In 1984, I developed both topic and technique to settle with my favorite topics such as: violence, erotic and war by utilizing basic visual terms like rhinoceros, seductive nudes, soldiers armed with weapons, chemical and nuclear wars outfits.
Eventually, I put my emphasis on the rhinoceros (symbol of dumb power) in which I experimented with plenty of reductions and insinuations. In 1988 I switched from the old technique that blended the paintings of lusty nudes and violently obsessed rhinoceros to the technique of Urukian painting which drew upon pictographic (pictorial) writing of my homeland Mesopotamia (Beth Nahrain).
This resulted in triggering all kinds of responses among the Plastic "Visual" Art circles, where I was split between those stating cautious viewpoints and those blasting and glorifying. However, that did not preclude me from pursing my work which I started as print making to painting where I added gods’ symbols, devils and charms formally used in ancient Mesopotamia.
My technique is quite simple, yet also quite impossible to imitate. I love to work with layers, textures, created and unique colors. Exploring different media and unexpected materials, playing with the shapes, space, proportions, and balance in a controversial way. When it comes to making an art work, I follow no rules and there are no red lines. Making art and making love are quite similar. There is no limitation or obstacles that could stop me or hold me back!
Actually, my work does not fall within the category of historical imitation i.e., my paintings are not pictorial writings nor historical detailing. Neither are they abstract or symbolic conventional paintings. In short, they are artistic works uniting my emotions as an artist and the specification of post-modernism paintings whether in their technique and making.
They are simply me and my world.
Amer Hanna Fatuhi