The art of visual integration in the works of the Emirati artist Muhammad Kazem reaches its culmination when he establishes the concept of the textile intertwining of the whole in the part, visually according to the environments he observes, so that his subjective language is rhythmic to express his existential anxiety or the environment capable of embracing the human being in his various colors, to make the research concept In his works, something is visible, which leads to stimulating the artistic sense of visual texture and kinetic intersection at the same time. He scratches to make what is hidden to sight visible to the sense based on the play of shadow and light, meaning that what you cannot feel while you see it in front of you in a live form must be made clear plastically, as If we live with a lot of daily life, we do not see it as we should with the passage of time, as if it makes the visual impact non-stop visuals in complex scenes that are lights that simulate the mind, and make it ready for the necessary discovery, to know existence more broadly. What is imaginary exists for him in its sense of light and also the opposite of darkness, but here through shadow. This is why the scratch has its relativity in the painting, and with studied standards, as if the scratch is a musical instrument for colours, to play his conceptual game in creating linguistic optics through which he imitates those who do not see the basics around him, which pass through him like the passage of the light spectrum, so he pays attention. Is the artist “Mohamed Kazem” trying to dialogue with light? Or does it hold the shadow so that the projection is the gradation of the shadow and not the light? Is visual synonymy the same as optical scratching in his works? Or is it based on the meaning of multiplication and decrease in existence?
Perhaps in the subconscious it is the game of life and existence, what is missing and what is excess, and with sensory equations that do not stray from established philosophies in the subconscious, so that the scratches translate what he seeks… or what he feels during the birth of the work of art, conceptually or otherwise, but it makes it a semantic multiplicity that differs depending on the scratches and their light directions. It is as if he is adhering to God’s saying, “O people! We have created you from a male and a female and made you into peoples and tribes that you may know each other.” Multiplication and diminishment are his game, which he turns into an aesthetic vision based on the value of visual understanding in transmitting unusual mental concepts from them, to serve as unifying keys, to make the human being in the universe. A relative unity between the material and the tangible, or what exists in the shadow itself that exists in the light through the game of tandem, and perhaps being influenced by tribes and clans, difference and harmony, and all of this is the actual existence of man between light and darkness, or to a greater extent death and life, so what exists in Some place does not exist in another place, but that does not negate that it is tangible and intangible in his artistic game. The artistic character in his works seems at first glance to be inspired formatively or conceptually from ordinary things, but despite their prevailing nature, they are visuals that differ and come together, but they form groups that come together and repel each other according to the game. Contradiction and contradiction are a purely Islamic characteristic that carries the concept of acquaintance between tribes and peoples, to generate, renew, and spread movement in the universe through their visible and hidden interactions, even if the existential conflict reaches its peak. However, man has what he strives for, and this is the philosophy of his scratches in his graphically programmed works in a sharp way, even if it comes close to an algorithm. However, in the strip of scratches, they are the sharp optical division that he actually wants, to be like an isthmus between action and color, or more clearly between the sharp line and the hierarchical scratches, and the other things around us according to aesthetic practices, albeit under many names, to reflect the value of absence and presence in a present that has replaced many The meanings of the new that made us lose cohesion, existence, and reproduction from the concept of civilization and civilization that fascinated him, and he adheres to the origins and roots in terms of human relations and solidarity away from conflicts, large and small, with a vision that is an aesthetic abundance in which human characteristics vary, and with a philosophy that may seem strange to the reader of this article, but despite the practical technique In his artistic concepts, which depend practically on relativity, he adheres to the concept of tribes and clans and the vague and unambiguous acquaintance between them in the universe, so that man is man between the movement of the light being and what it reflects, integrated with his shadow, meaning with those of his lineage who died to maintain survival through the game of the visible. And the invisible (the dead, present and the living, absent). Is plastic philosophy the mathematical mind in art?
