THE ART OF NABIL KANSO
If space could hold the reasoning of Nabil Kanso, his soul as part of his work would benefit of the infinite immensity for drilling and penetrating into the ethereal expansion filled with the illusion of its incandescent threads which dramatize and illuminate with their absolute visualism his intensity of pain and pleasure, and the enjoyment of a feeling in which that great space shrinks in front of his reality, his reasoning, his image, his mirror.
Human shapes retrace themselves assuming an abstractionism, a symbology, a concrete message, from an idealized peace to the horrifying interpretation of pain, the representation of childbirth escaping from terror, the despair of encountering nullity, the impassivity of a king who agonizes in his essence, the symbolic strength of a constant movement, where man, wild and untamed, routs and escapes into the devastating freedom of silence.
In his artwork, martial art are repeated where dogmatic heritages of the virtues of cultural perfectionism destroy themselves, or promise the autocratic homogenates of a perfect leadership.
His paintings are the anguishes of the pain brought by the thoughtlessness of man and placed in the infinite space of a principle, in which the conflict of a cause: terrestrial peace in the play of word and idea, fire and sky, or total darkness, the naught.
His aesthetic and artistic imagination envelops the whole twisted reality of revolutionary and historical plenitude into an odd inferno. Scarlet, crimsons, yellows, violets, ochres, and the few brushstrokes of blues are the perverse of joy and evil move in a narcissistic masturbation that strikes satanically towards the destruction of the essence of being, from the real to the unreal whose pale shadows of the images embody that reality which is denied.
Nabil Kanso's universe if full of carnal essences and mute significations, mixture of essences and existences, imaginary and real, visible and invisible, the discovery of truth by way of looking and seeing what is hidden in the occult wisdom of artistic science.
Upon arriving at a sensible meaning, we find ourselves beyond perceptive intuition. It is the memory's doing what makes reflections of a generator of such expressive forcefulness whose genius is the fact of the great truth.
The truth of Nabil Kanso, a compulsive being substantiated by a beautiful faculty. The action is a spontaneous fantasy, but always in the stream of memory.
Rossi, Ildebrando: "The Paintings of Nabil Kanso," Panorama, April 14, 1985, Maracaibo
Tanslated from Spanish article La Obra de Nabil Kanso: Una Cuspide sin Principio
published in Panorama, 14 April 1984, Maracaibo
The Work of Nabil Kanso
I lIdebrando Rossi
.... The highly concentrated images create a deep space of a hellish world where destruction, pain and terror are everywhere. The aggressive use of brush and color charge the surface of the canvas with an explosion of raw, brutal and violent expressions stressing the emotional state of the artist and the inner reality of the subject matter.
Ghostly faces and spectral figures emerge with diabolic creatures and frightening elements in a gloomy prospect of a menacing atmosphere overhanging desperate pleading figures underscoring a mood full of pathos and tension.
The depicted scenes invest the space with visionary intensity reflecting our present reality, an encounter with the unconscious human souls of our planet, providing answers and assertions and denials of the evolution of a war state sustained by destructive hypocritical pacifism, a reflection of selfish finding a definition in a warrior's just cause, in the perfection of being man.
Nabil Kanso's paintings express and communicate in an emotionally dynamic charged with highly concentrated energy and power that capture the essence of the experience and deepen the pictorial and historical movements of a great content of the reality of a gagged society that may be regenerated in absolute peace or apocalyptic destruction.
The antagonisms of human beings make their presence in the canvases of Nabil Kanso, in a thesis and antithesis that provide a discussion, a dialogue, a vibrant activity whose final and unpredictable target is solely sustained by an art expression, a powerful message, a crisis in the current cultural, social and political criticism.
We are the beings, the expectation of the present, the anguish of tomorrow, we are part of the pictorial work of Nabil Kanso's, we echo his artistic revolutionary temperament and indictment, his admonishment and denunciation of violence and war propagating terrible tolls of human life, suffering and destruction, we are present in the webs of his imageries, and we must be part of his commitment.