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Artist Exhibitions:
SOLO EXHIBITIONS
2003 - Gora Gallery, Montreal,
Bahrain.
2000 - Arts Center (Bahrain
National Museum), Manama,
Bahrain.
1997 - Bahrain Arts Society
Gallery, Manama, Bahrain.
1991 - Bahrain Arts Society
Gallery, Manama, Bahrain.
SELECTED GROUP EXHIBITIONS
2002 2nd Islamic Art Biennial,
Tehran Museum of Contemporary
Art, Tehran, Iran
The Annual National Arts
Exhibition, Bahrain ...
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Artist Reviews:
Al Tahmazi transcends this
lyrical abstraction and tends
towards a more conceptual
abstraction, refusing the
arbitrary separation between
figuration and abstraction.
For him, space is more than
just a simple alchemy of
pigments, it is literally a
concept.
Asaad Arabi
Researcher in the aesthetics
of Arab and Islamic art
...
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Collections:
Bahrain National Museum,
Manama, Bahrain
National Art Museum, Amman,
Jordan
Kuwaiti Divan, Kuwait, Kuwait
Ministry of culture and arts,
Amman, Jordan
Gora Gallery, Montreal, Canada
Private collection in Bahrain,
Saudia Arabia, Kuwait, UK, and
Canada....
Further Information
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Commissions:
Coming Soon!
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Artist Statement for Khalid Altahmazi
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The key of my happiness in life is when a final artwork turns every minor thing around into a symbol of beauty. I really glory of my relationship with my own artwork that I share each sense of life with it. My aspiration about my fine art is when I follow every pathetic line and space of the body of the work, and found the whole work plays my own secret symphony that flows with emotional spirit to feed my soul desires. A final artwork is a life visual record of all my sensibilities at a time of creating this art piece.
When I work with oil colors I feel the colors stimulating deep with my feelings that I don't feel like I work with alien material, I just work with colors unconsciously expressing deeply my self. I don’t plan before I start a new piece, and don’t like to follow discipline logic. A birth of a new painting is when the pureness of first colors released on a fresh white canvas in a very childish way, these colors gesticulate the motions of brushes on the new canvas and evoke the form of the work. I use different sizes and shapes of brushes, some of them are even old or spoiled and some times I use oil sticks also, all these tools give natural varying impacts in primitivism technique. In the development process I don’t really consider the form as much as to harmonize with the artwork motions. However, the art work emerges an unexpected pattern and usually it came in a form of women character, or a portrait of a woman, like a symbol of emotional impressions. Even if the woman figure is not appeared the deep emotional impressions will be the final symphony and that time I know that that piece is turned out really well.
In 1980’s, when I was adolescent at school time, my artworks were slightly different as I used to be admired by the surrealism art that led me to a grievous fantasy vision in my drawings. However, there are several things have effected on my inner vision that started to be changed gradually to the brightness and reality in my modern art. Being a member in the Bahrain Arts Society has helped me a lot specially after my solo exhibition in 1991 in the society gallery. Considering my Arabic culture, has gave me also, a lot, since this culture is very artistically rich and has been integrated with different ancient and rich civilizations in the world, like Egyptian, Indian, Persian, and Japanese civilizations. Scrutinizing the natural impression and motions of people around has made the human impressions spurted in my artwork and usually it’s epitomized in an impressionism models of women. Maybe because woman conceal the power of spirituality.
Khalid Al Tahmazi,
11'th May, 2000
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