The plastic artist “Abdul Majeed Nofal” opens up a world of feeling the suffering that occurs, and it affects the plastic formula in his works that make us wonder about the actual human reality, away from symbolism, as the details in his paintings are filled with social legacies in terms of the meaning of color, and detailed transgressions filled with life meaning, Such as his paintings about “Umm Aziz,” which dealt with the suffering of loss, to expand concepts, to social positions that make us help by expanding humanity in the world of art, to show the value of art and its humanitarian issues that he focused on with visions that represent concerns and their effects on societal beings, and in combination with symbols that perform their equations in his other paintings. It draws the subconscious of man through the use of colors and merging reality with sensation. To create a kind of depth and awareness to faithfully translate the feelings of the painting into what he feels while painting. Is there any credibility to the feelings that lead him towards the interior of the painting as a kind of plastic societal simulation? Or are his paintings in which he painted Umm Aziz the human form in which the reactions of color appeared to the tragic meaning that befell this woman after the kidnapping of her four children? Is there a concept of social misery in drawings that are a general concept and not something specific given in order to represent the condition of this particular woman and the other faces that he draws? What are the standards in artist Abdul Majeed Nofal’s paintings that he imposes in the details of expressions that are visually attractive to the recipient? Is there a human touch between abstraction and reality with plastic sorrow?
The aesthetics of his paintings touch on human concerns, far from the standard in the schools of art that he holds the keys to, to be more like a magical visual mixture and philosophies that lead societies towards aesthetic discipline in situations that touch upon the public scene or the actual event that made the painting a reasonable, private subject, to enter into the realm of the philosophy of art in Representing the feelings and feelings that engulf a period of time in human history in general.
Is Abdul Majeed Nofal trying to imagine what the other feels, and the recipient is affected by it? A text, a drawing, or even color rhythms fall under the name of the plastic whisper of valid human issues and are capable of preserving the history of what happens to humanity of injustice, oppression, and suffering, and cutting off pains with plastic pains, to move from the private. To the year? Is the visual narration of the events that drew the life of Umm Aziz through Noufal’s paintings charged with influences with a humanitarian orientation? Or is it a kind of commemoration of the story of a woman who lost what she lost, so that it can be depicted in plastic paintings as a title for the woman who resisted loss by waiting in which society did not have mercy on her? Is societal formation a preservation of human genes?
Abdul Majeed Nofal’s paintings represent a kind of revival of a societal situation that is not imaginary, but rather realistic in its dimensions. However, he was able to give it an abstract imprint that left it slipping through the background with an involuntary capacity that made this woman whom he painted bitter, to compose through his influence by an artistic form that he made of her. Compensatory explanations for a stage that he documents with visual art in terms of the meanings of sadness and waiting and the distinctiveness of the personality, which means that motherhood has a strength that makes her patient with the affliction that afflicted her with misery that embraced her as it embraced pictures of the four sons, and among the abbreviations that Nofal endowed with an aesthetic that is no less important than the stories of misery that we read about in literature. Are there artistic voices calling for human rights and respect for motherhood, which caused this mother the pain of losing her children? Or did the narrative color and movement of shapes in these paintings add a retrospective vision to a story that will not be erased and that has been seated in paintings that have acquired special characteristics?
