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Artist Exhibitions:
Exhibitions (group, solo):
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2003 Momentum, Contemporaray
Human Scruples, International
Art Project, Magdy Shiha,
Egypt and Marian Lund,
Denmark, ArtSpaces Sidi
Ghaber, Alexandria
2001 Beyond the Cave Of
Images, May, The Egyptian
Embassy Gallery, under the
auspices of the Egyptian
Ambassador, Washington, DC,
USA.
2001 The Great Falls Art
Festival, 1st ...
Further Information
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Artist Galleries:
MY GALLERIES :
http://www.absolutearts.com/por
tfolios/a/artistico_mag_shia/
http://www.freewebs.com/almadar
studio
http://www.freewebs.com/art4hum
anity
http://www.egyptart.org.eg/
http://go.to/art-alexandria
...
Further Information
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Artist Reviews:
Bibliography: (Reviews,
Interviews):
2001 European Radio
Program, an Interview with
Hannan Samaha Announcer.
2001 Interview at the
Herald News, NJ, USA. Michael
Clancy, Reporter.
2000 Interview at the
National Egyptian Newspaper Al
Akbar, Daily paper, Editor
Thorayaa Darwiesh.
1999 National TV interview
with artist works, channel 3.
EGYPTIAN PRESS
RELEASE...
Further Information
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Collections:
Coming Soon!
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Commissions:
Coming Soon!
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Artist Statement for Magdy Shiha
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Artist's statement:
The momentum.
The act of Drawing stimulates certain forms that should be put in order to create a field of magnetism to the surface and also the media I use. I discovered that in all the masterworks of art there is a sense of predominant illusion through which visual expression of outside subjects might occur, due to restricting the forms. I used my own prudent eye to perceiving these magnetic fields from which emanate the dual energy and the rhythmic perception of drawing.
Also I had infatuated science with those rhythmic perceptions in my art, as well in the ritual dances of my country. As if each natural existence reflects its own rhythmic internal, that pulses - meaning through its tension created. The dancing figure, in an empty space, which has no boundaries, and which the human form becomes in a moment of the existence a rather hectic circle to a grain of sand. The recalling of the natural forces to act like drawing. The tree trunk exposes much tension and sublime internal life which activates a certain inner experience for the memory. Those activities of the natural sources which consternated thorough every content shows much as the same in the act of drawing that I activate in my drawing to share those forces its impact upon our memories to outer existence, so my drawings are to catch the dynamic aggregative reaction to each solid, passing from sight to vision and piercing to the individual experience.
This dynamic activity for both nature and human becomes my raw material for drawing. I don't want to draw a tree, I want to catch the potentialities of the tree's dynamic content which hold the tree as a grammar for nature. And so for the human figure. I am not portraying, rather concentrating that state of mind for the portrait or the figure. So many of my drawings as well become those sequences to peculiar states of mind. Simply, I intensify my material to a very transparent movement in the charcoal, which I draw, like the dancer or the tree draws its content to the airy spirit. The charcoal transcends these saucy exuberant vibrations that the inside catches in every instant of conscious, so that many of my drawings create that exhaustion attracting the viewer towards what I named "the internal blare of life."
Like all other art, my art had its own visual field. That concerned me. I intended to divide the space of a blank white paper to breathe for recalling that natural force to act upon the viewer. That could be much enforcing to do with our memories of the outside experiences. So I'm looking to the unstable and unsatisfied center of the nerve, which give the viewer pulses of uncomfortable senses. My spiritual process to that stream of shapes achieving all the states of mind I begin till the end of drawing pulses. And toward this central perception, I act the momentum.
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