He presents "One Smile... One Wound" in Dubai
Majd Kurdieh: My paintings are for hearts, not walls
Majd Kurdieh: “I am very happy when I hear from people that my paintings have helped them get rid of sadness.”
Kurdish painting carries a lot of feelings mixed with life and human details.
Photography: Ashok Verma
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The experience of the Syrian plastic artist, Majd Kurdieh, carries a lot of joy wrapped in pain that does not heal.
Kurdieh presents in his paintings multiple beings bearing a name, and these beings seem to come from a cheerful, childish world, but penetrating into their depths leads us to two contradictory and parallel worlds of wound and hope.
Kreidieh spoke to "Emirates Today" about his exhibition in Dubai, which is held under the title "The smile is one ... and the wound is one," saying:
“The wound is one and the smile is one.” The title of the last exhibition presented by Majd was: “Our smile is one and our wound is one. One row, and not one idea brings them together, and that there is a thin thread that connects them together, as each painting is an adventure in itself.
Kurdieh considered that the importance of this exhibition comes from the fact that he worked in the last four years on watercolors and ink, just as the previous works were in oil colors on canvas, and in his last exhibition he focused on canvas and large sizes.
Regarding his vision of art, the Syrian artist indicated that the presence of art reduces human brutality and ugliness, as art curbs the wild and rolling snowball, and tries to alleviate the state of barbarism in the world, and added:
And about the change in the shape of the paintings presented by Kurd, so that they became larger and the text was reduced at the expense of the image, he said: “I am working to reduce the text through the canvas and large works, because the image is the one that takes heroism, so the canvas carries the characteristic of maturity and a lot of seriousness, while the paper that I used it and it allowed me to work in a more adventurous way.”
Kurdish combines image and text, especially poetry, and about his relationship with poetry, he said: “I am associated with poetry a lot, especially since I am the son of an Arab culture, and poetry is our first art. We Arabs are more linguistic than visual, and I can say that my relationship with Mahmoud Darwish is based on For example, I started when I was 14 years old, along with Al-Mutanabbi, Bahaa El-Din Zuhair, and other poets.
He added, "I love the image that poetry carries, its aesthetics, and the possibilities of interpretation that it contains, but I do not care about portraying the poetic scene as it is, because in this I will be a burden on others, and what tempts me is the ambiguity and the attempt to portray this image."
As for the creatures in the painting, he indicated that they are constantly evolving with him, and every development in the painting means the evolution of the beings. The story and events that take a new turn add to the characters, or even lead him to delete some of them, and the characters became the imprint and the identity, but the techniques for presenting them constantly change with time. .
A Kurdish painting carries a lot of mixed feelings, and he indicated that he seeks to make his paintings life-like that includes a mixture of contradictory feelings, so he does not seek to market hope in a commercial way, and for this his paintings may involve mocking sadness in order to paint a touch of joy, as irony is a tool mankind that was found to heal.
He pointed out that the paintings bear human connotations despite the multiplicity of beings. Everything that is used in art is a symbol and is related to humans. Therefore, the ability of a plastic symbol may carry more than one layer of understanding.
Kurdiya refused to choose a specific character that represents him from among the characters he presents, noting that he sometimes feels like the bird that comes to the paintings as a light guest and has no text, and his presence is painful.
And he stressed that the paintings do not present an ideal world, stressing that he is not an ideal person in presenting the artwork, as he cannot present the world as if it were fine, and at the same time he does not work to convey the tragedies of life in a realistic manner similar to a newsletter, as falling into the trap of directness turns the artist into the world of caricature. .
And he considered that, as an artist, he avoids direct addressing in the embodiment of issues, because he is very wary of riding the waves of issues, so the question must be asked about whether he paints the issue to serve it or to spread it further.
«Video Art»
Majd Kurdieh presented the "Video Art" experience, through a work that he completed entirely on his own, and pointed out that he presented this work by collecting 300 images, and worked on the technical side of it despite his modest knowledge of it, due to his love of controlling the artwork, and this is what led to the emergence of different technique.
Kurdiyeh indicated that completing the work required him to go to the sea on a daily basis for a month until he was able to take pictures, explaining that he "worked on documenting the sound of the waves as well, and his production of paintings was affected by this work, given the effort and the long time."
Kurdiyah stressed that this experience may not be repeated in the near future, because it is more inclined to colors, textures and smells, indicating that the world of "digital art" and "now FT" may be more attractive to the new generation that grew up on these technologies.
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