Banawy, Mohamed. The Valley, (detail), 2013 150 x 500 Clay, glass, wood, metal, cement.
The Valley
Mohamed Banawy is an Egyptian artist from Al Sharkia who has added an original transformation to what is visually perceived as a traditional mosaic design by creating a unique contemporary attitude to its formation. Rather than applying the conventional rigid symmetrical stone polygon shapes, he creatively communicates with natural forms and materials. In
The Valley, Mohamed’s materials are various dimensions of clay and glass, creating moments of shine and others of muteness. His technique constructs beautiful patterns of wonderful decorative arrangements. What seems to be a random and unconscious process actually produces a type of topographical map that extends beyond the geometric to the associated cultural identity of Egypt. The country’s heritage is communicated through the mosaics’s innate forms and materials. Though the concept may not be very blunt nor direct, the viewer can easily visualize a type of map and the unconventional methodology in the application of use of various geometrical and inherent shapes.
The Valley has been described as a reflecting the concept of good verses evil. The bunching of forms hints to the development of cities, of civilizations, that sequentially appear and disappear in history’s documented ‘cultural trip’/ The shapes of the individual pieces express the irregular formation of patterns that emerge within the artwork. Each piece tells a story through materiality. Dimensions alter in both size and depth; some shine with glass or gloss while others seems to fade into the mat background. As one city is being built, another is being destroyed, a cycle that refects the history and passage of man: the construction and destruction in the process of good verses evil.
‘Being one of the Basic elements of Creation, The Mud (clay) is the secret of life and its eternity...from Mud, not only Mankind is created, but everything else as well... When I am forming units of Mosaic Mud, I feel warmth and as if I am a part and parcel of this great Universe; these are the Great Egyptian Heritage.’ (M. Banawy, Mosaico oggi: interview with Mohamed Banawy)
The River
Banawy, Mohamed. The River. 2013 300 x 1000 cm Stone, glass, ceramic, metal, cement
As
The Valley documents the movement of man on earth,
The River documents his abstract and flowing knowledge. The patterns and color of clay and glass pieces intend to reflect the order and system of thought, defined as knowledge. The mosaic conforms to linearity as if saying that knowledge is continuous flows in a certain direction, on a structured path. The patterns themselves are not created naturally, as
The Valley documents physical civilization. They are a conscious order that systematically assesses, documents, and catalogs. Though, there are moments when the patterns alter, they occupy the same width as the river flows from vertical to horizontal. It would be assumed that with time humanity, through a natural process, develops and learns from history which would provide a less rigid and constrained path where knowledge flows irregularly through time. Banawy’s process applies geometric shapes in a regular and defined passage prohibiting the expansion in width to address the accumulation and alteration of knowledge. Though the artwork is not directly identify Egypt, it has aspects that articulate references from the past, to an ancient culture, as it applies traditional materials, patterns, and forms.
Douar Misr
Banawy, Mohamed. Douar Misr. (Tahrir Square) 2011 200 x 200 cm Stone
Douar Misr is an artwork whose concept directly effects its form, dimension, and pattern. Banawy intended to document the moment that Tahrir Square became a part of the Egyptian Revolution by depicting both the gathering of the protesters into the square and at the moment they were forced to defend themselves from threat. The circular mosaic is divided into several sections; the inner and outer circles. The central area forms the square itself with small dispersed pieces that represent the protesters. The fragments are not randomly placed but organized into a pattern, communicating that individuals form a shared and organized cause. The outer sphere is segmented, representing both the city structure of streets and alleyways and the different types of groups that surrounded the movement.The multifaceted and complex desires and needs of the Eyptian people are present in the bordering segmentations.
Banawy’s use of neutral colors makes it difficult to understand the artistic political statement. The mosaic seems to be more of a documentary of historical circumstance rather than being one of socio-political discourse. Though it would be assumed that the layout and patterns would address a positive aspect and desire for change, the use of light beige colors with similar dimension and cuts makes it uncertain to how the artist feels. The homogeneous colors reflect a neutrality of opinion, or at least lacking emotions.
Douar Misr speaks of a dramatic and important unresolved moment in recent Eyptian history that the artist consciously articulates with peace and calmness, which is an aspect of discourse. It is interesting to understand the source of inspiration for artistic production; however, the shortcoming of emotions restrains the artwork’s success.
Biography
Banawy, Mohamed. Public Market 2. 2007 120 x 120 cm Oil, pastel.
Banawy studied painting and sculpture at the Faculty of Fine Arts and the University of Helwani. Towards his senior year he joined the Mural Painting department to gain design, mosaic, and stain glass skills. He showed great interest in Old Egypt through his paintings of people and landscapes, as seen in
Public Market 2. The work decidedly proves that Banawy is not artistically limited to mosaic. Since 2001, Banawy is a lecturer at the Faculty of Fine Arts. He acknowledges and thanks two people for his career choices. First his father who was an art teacher and caricature artist who Banawy claims to be his first mentor. He also credits Marwa, his wife and recurrent collaborator, for her influence and input in his creations. Banawy’s work has been a process that has come along way since the creation of
Landscape 1 and
Landscape 2. Today he is a part of Egypt’s contemporary art scene through production of pieces such as
The Valley. The exhibition of
The River at the art expo at the Biennale of Venice 2013 in the Egypt Pavilion has launched his international exposure guaranteeing him intercontinental recognition and making a google search very accessible.
Banawy, Mohamed. Abstract 3. 2010 80 x 80 cm Clay, glass.
Banawy, Mohamed. City 1. 2011 49 x 49 cm Clay, glass, cement.
Banawy, Mohamed. Landscape 1. 2010 80 x 80 cm Stone.
Bibliography:
- Brady, Helen. ‘The Best of the 2013 Venice Biennale’ in The Culture Trip (online). http://theculturetrip.com/europe/italy/articles/the-best-of-the-2013-venice-biennale/ [Last accessed 11:45 on 19/11/2013]
- Maggio, Luca. 'Mosaico Oggi: Interview with Mohamed Banawy' in Masaic Art Now (online). http://www.mosaicartnow.com/2012/10/mosaico-oggi-interview-with-mohamed-banawy/ [Last accessed 11:48 on 19/11/2013]
- Pipgras, Nancie Mills. ‘Mosaic at the 2013 Venice Biennale Part 1: Mohamed Banwy/ Khaled Zaki at the Egypt Pavilion’ in Banawy (online). http://www.banawy.com/index.php [Last accessed 11:48 on 19/11/2013]
Pawel Althamer is a Polish artist known for his multi-media approach to creating the relationship between sculpture and human psyche. His innovative practice continuously experiments with sculptural expressions that play on social collaboration. The works do not derive solely from personal talent, but through the cooperation of other individuals, commonly being family members, who act as models. Their role is a part of the play between the real and the invented, a main aspect to Pawel’s sculptural portraiture.
It is not a random decision nor a simple artistic choice to create original molds of faces and hands of existing Venetians. ‘Hands and face play an important role for human communication. They are the main source of information to discriminate and identify people, to interpret communicative signs as hand and face gestures and to understand emotions and intentions based on facial expressions.’ (Baltzakis, Pateraki, and Trahanias, p. 1141). Initially the human form is visually interpreted as a vague structure that slowly transforms and perceived as the facial features and hand gestures become more defined. Facial expressions are an easily acceptable articulation of human character interpretation. The selection of the two body parts is related to their conscious connection. After all ‘our hands reveal a lot about what is going on in our heads’ (Weinschenk). 
It is Pawel’s approach to non-verbal communication is essentially linked to the real-life molds of Venetians. Their success is also in relation to their opposition to the plastic skeleton structures that has a unique capacity to link the past of the Arsenale to the presence of the exhibition. The‘external features provide a context that improves our ability to recognize and to match internal features’ (Froud, Shelton, and Atherton) The forms speak of the dead and their gestures and expressions create a cultural context where the location, materiality, and forms are directly associated with Venice, the Arsenale, and the Biennale.
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