Exploring the Smiles of Childhood: Nizar Othman’s Exhibition at Zaman Gallery

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Zaman Gallery in Beirut will host, between (November 2nd and December 30th) the exhibition “Smiles” by the visual artist Nizar Othman (Nizaros), during which he will display 28 paintings that express human contents, in an attempt to discover the secrets of the greenness of childhood that the night will bury in its black robes. The brute, as he watches the ordeal, hopes to break up the psychological conflict he is experiencing, in order to catch some of the colorful characters that haunt his fabricated stories.
Perhaps the phrase “We have the right to life,” which the “Smiles” exhibition demonstrates in the face of ugliness, is a challenge, an attitude, a point of view, and a way of life. This is what we find in the exhibition’s paintings. The smiling, childish faces, with deep expressiveness and fantasy, show defiance before the forces of darkness and adherence to constants. Thus, the artist cannot help but find himself within these works because they are his other face, the color of his blood, and the lines of his life.
“Nizaros” holds this exhibition as an issue of a nation, a people, and a human being. He draws inspiration from reality with all his artistic audacity and builds epics that entice him to venture into spaces and penetrate into their vast spaces, breaking into them to form epic faces in which symbolic expression debates with visions of human meanings. He was able to penetrate the wide spaces of the painting and explode his ideas within them accurately, and this style gave him an advantage and uniqueness.
Through these innocent childish faces, the artist “Nizaros” works on the idea of ​​deconstructing color and reformulating it within psychologically influential connotations and implications, which led him to create philosophical approaches between the color works of the Lady of Innocence, and the recipient’s ability to deconstruct them and understand the depth of the purpose, which remains difficult for many to reach. Nizaros has studied the reality of these influences and given them explanatory dimensions in his current exhibition, but where will his plastic readings take us, and where will the contents of his color works take us?
Perhaps it is a legitimate question before the audience of fine art, and this is something whose secrets and secrets cannot be easily deciphered, because “Nizaros” by nature is a color being that does not favor stability, and continues to search and color, giving the souls in Palestine, Lebanon, Syria, and Iraq some of its aesthetic concepts that brighten our knowledge.
The faces of the children, with their pain, suggest that they are emerging from under the rubble, searching for a safe refuge, and this is all their desires! The artist succeeded here to a great extent in linking… that is, harmony and harmony between the subject and the color. The red color that filled the paintings is the color of the innocent blood that was shed because of this aggression and barbarism that affects our children in Palestine.
We are in front of an art exhibition that cries out to consciences, sealed by the blade of the knife that cut our throats with the tragedy of the phrase, covered in the groans of children, inscribed with pain and sorrow, and written in ink of eloquent sadness that makes the olive tree and tobacco seedlings cry in grief. It identifies with the works of its exhibition like a child discovering the overlapping world of images and caressing the colors of pain. Maturely and wisely.
The paintings of the artist Nizar Othman “Nizaros” combine the questions raised in all the accumulations of reality, existence, and conceptual presence. The exhibition is like a crazy, mature, childish world in which joy, childhood, imagination, and ideas accumulate with strong, soft colors and an imagination full of movement and vitality.
Thus, these plastic works are not limited to the artist Nizar Othman’s mere interaction with style without affiliation to the spirit of coexistence or overcoming the idea of ​​collective communication. This idea is what carries the content and carries its expressive and plastic dimensions through the sensory symbolisms that the plastic artist experiences, embodies, and processes in his imagination, regardless of his affiliation. It and his coexistence with it, he expresses it as a spacious visual space that carries more than one purpose, message, and meaning.