Painting Description: No 2

Painting Description: No 2

Without having to think twice, the artist decides to advance into reading the beauty instead of referring to colloquialisms.
All prevalent symbols, connotations and correlations of the piece of art have arisen from the tacit knowledge of the group; however, the painting was composed of the vexing and audaciously selected elements, similar to the painting of David, the dead tree and Matisse’s fish (not literal). Thus, this was the onset of transformation in art history from the drawn as it is to how it should be drawn.
The narrative inspired by the spectacle of fine arts represents the challenges of the foregrounded leading figure through the desecration of the iconic and sanctified idea. It would also happen through a theatrical effectiveness presented by fashion styles and a cloudlike ambiance in a floating time that moves between two exciting experiences extending from the statue of David by Michelangelo to the slain tree by Jawad Salim, as they played a distinguished role in paving the way to art that’s irrelevant to the prevailing pattern. Through Shubbarialism, this drawing is supported by the practice of sewing by the modern Abla as a nebular figure in a floating time. Good evidence on that is the expressive movement of the horses overlooking from the scenographer’s show window; another aspect of the scene is represented by the bear, which formed a central objective balance that exhibits Antarah while challenging the forbidden and intending to take action. Whereas, the image of love structurally comes ahead, occupying an aesthetic space between the two foregrounded leading figures, Antarah and Abla, and the symbolism of longing for the lost love for entire generations.

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