Yousif BG

Yousif Naser

Exhibition in Florence

Esercizi di disperazione

20-27 February 2010


The stranger sitting on a terrace watching the landscape: the houses and trees, windows and cars, chimneys and people, and begins to draw the various aspects of the scene before him. One of these aspects is the desire to be part of what he sees, being one with what he faced. To the extent that it is discouraged by a sense of strangeness, the city becomes a picture and the terrace a framework in which there is no way to go. From rebellion to this state of affairs arises hypothesis fantasy that has nothing to do with the history of that painter China who designed the path and through him to his village, in which case the road ends and the painter remains to establish a relationship imaginative with the panorama that stretches in front of the terrace, not only have to assimilate to their inner state.

Are attempts to draw the years of despair.

Since the first steps of my artistic life I have been attracted by the observation of the shadow of a tree or a chair, a body without an interest in the part exposed to light. The tragedy to me is easy to find serenity, but not of the catharsis but because the tragedy awakens the senses and brings awareness to discover hidden routes. I have always felt attracted to interiority, from mysterious forces, the ability unknown.

However, I would add that with great conviction I began publicly to invite a reconciliation with despair, to a stop and look back as I, with ups and downs, I've done for decades.



Now I got the last corner before the end of the narrow streets of the village leading to a land empty and unknown. I still see the grief that I left behind, waiting for me to reach, to accept it. I we sit beside him and drink his cup. Through painting I find it the most intimate aspects that I never imagined, his shadow following me step by step, I stimulates the senses, and have no partner to cross the desert before me.

The subjects of my paintings are full of ideas and feelings because my feelings and my emotions are always much larger than my ability to manage, which is why I quickly realize my paintings that often seem unfinished, barely sketched. Using charcoal that slide on the sheet as if they were an extension of the fingers, is how to draw directly with your body. This is a technique perishable signs traced on the paper are not definitive, it is always possible to correct them is an approach perfectly suited to my nature indecisive and perhaps fearful.

Despair springs in any form and in subjects as diverse that it is a tree or a body or a woman, and is not intentional, it is only a tool. Therefore if you portray the trees they have nothing to do with despair or with the sense of alienation but they hope the alienation and despair without claiming they reach the senses, but in this context they might occur anyway.

But the painter like confronts a particular subject? In my case the face of despair and foreignness? It is difficult to answer, I could satisfy only a piece of tree bark, to draw flowers as the Dutch painters, to become surreal or let go.

Even this attempt to define my efforts seem futile and hopeless.

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