Adel-Alabbasi
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Adel's Doodles
2 min read
Focus on
Adel's Doodles
An Article on:
Artbahrain.com www.artbahrain.org/web/ALWAN_3…
May 2012
One of the artists taking part in the exhibition is Bahrain's prolific emerging artist, Adel Al Abbasi who did a montage of over 1,000 colourful doodles in one of the rooms in Bohemia.
According to Adel, "in order to know others, you first must know yourself by discovering your inner feelings. Nothing can express your inner feelings and subconscious more than doodling while your mind is preoccupied and busy. Doodling is simply doing unfocused drawings while a person's attention is busy or preoccupied. Doodles can be simple or complicated drawings that have concrete representational meaning or may just be abstract shapes."
Most of his doodles are produced during telephone conversations when a pen and paper are available. Since the beginning of his art life, Adel has been doodling and was able to produce a record of 1,500 doodles annually - done either at work, at home and even in restaurants where he uses the paper table mats, newspapers and the back of envelopes. The doodles happen when the idea is germinated which he then develops into paintings and sculptures.
Going through the doodles, over the years you can see the evolution of the characters featured in his artworks. To Adel, doodling has always been a great source of relaxation, expression, and inspiration. It's a powerful psychological mechanism that allows him to know himself and hence to know others. He stated that, "By knowing myself, I am the Other!" A couple of paintings next to the doodles showed how seemingly these little pieces of paper become works of art, as did large metal sculptures displayed in the outside pedestrian area.
The exhibition attracted a large number of visitors who enjoyed the colourful art on display both inside Bohemia and outside on the various walkways and buildings within the area.
www.artbahrain.org/web/ALWAN_3…
Adel's Doodles
An Article on:
Artbahrain.com www.artbahrain.org/web/ALWAN_3…
May 2012
One of the artists taking part in the exhibition is Bahrain's prolific emerging artist, Adel Al Abbasi who did a montage of over 1,000 colourful doodles in one of the rooms in Bohemia.
According to Adel, "in order to know others, you first must know yourself by discovering your inner feelings. Nothing can express your inner feelings and subconscious more than doodling while your mind is preoccupied and busy. Doodling is simply doing unfocused drawings while a person's attention is busy or preoccupied. Doodles can be simple or complicated drawings that have concrete representational meaning or may just be abstract shapes."
Most of his doodles are produced during telephone conversations when a pen and paper are available. Since the beginning of his art life, Adel has been doodling and was able to produce a record of 1,500 doodles annually - done either at work, at home and even in restaurants where he uses the paper table mats, newspapers and the back of envelopes. The doodles happen when the idea is germinated which he then develops into paintings and sculptures.
Going through the doodles, over the years you can see the evolution of the characters featured in his artworks. To Adel, doodling has always been a great source of relaxation, expression, and inspiration. It's a powerful psychological mechanism that allows him to know himself and hence to know others. He stated that, "By knowing myself, I am the Other!" A couple of paintings next to the doodles showed how seemingly these little pieces of paper become works of art, as did large metal sculptures displayed in the outside pedestrian area.
The exhibition attracted a large number of visitors who enjoyed the colourful art on display both inside Bohemia and outside on the various walkways and buildings within the area.
www.artbahrain.org/web/ALWAN_3…
Join the community to add your comment. Already a deviant? Log In
Interview with The Artist
11 min read
ArtBahrain.Org March 2012
artBahrain visits the studio of emerging Bahrain artist
Adel Al AbassiHow long have you been an artist and how did you become one?
Well, it's difficult to answer this question as I always loved art and had the ability to draw and paint since my childhood; however, I can
say that I had the ability to draw but I was not thinking like an artist until I met a colleague who happened to be an art collector and
intellectually well informed about art and especially art in the Arab world. He introduced me to the Abstract Expressionism school of
art and gave me a book called, "Concerning the Spiritual in Art" by Wassily Kandinsky, an influential Russian painter and art theorist.
From this book, I learned that there are spiritual forces in art and that the artist's mission and task is to lead others to these forces.
The book also taught me that art should not only have a physical effect on the eye, but it should have a deeper effect, touching the
inner feelings and the soul. Besides that, I had the opportunity to go through his art collection and get ideas about real art and the
trends. I think this was the turning point in my art life to start thinking like an artist.
How has your art work changed over the years, would you say you have grown in slow measured steps, or have there been
radical shifts in your art making over the years?
Regardless of the big shift in my art thoughts and knowledge, I am very aware of the development of my style. I refuse to follow the
market trend or the collectors taste. Having a good career on which you can live gave me an advantage not to drift into commercial art
or to jump from one style to another just to satisfy my target market. I have always said that I live for art and not from art! Back to your
question, my style has gradually evolved over the years from realism and surrealism to expressionism. I am not sure where I am
heading in terms of style and would like to leave it for the time so it matures organically or as Arabs say, is cooked on a slow fire! I
have always been very critical of those artists who jump from one style to another without developing that style gradually. To me, an
artist's development is like a mystical journey in which one has to go through different spiritual stations or developmental levels. One
cannot just jump from one state of consciousness to another or from one mood to another to attain enlightenment. So, similarly, in
order to transform from one style (station) to another, one has to earn it by his/her self's own efforts and labor.
You were trained in painting, but your recent works all seem to be sculptural. What made you make the transition?
Art is not my Academic background. I went to technical high school where I studied casting, welding, and mainly Diesel Engineering.
I did my Bachelor and Masters(MBA) degrees in Business Management in the USA. Nevertheless, I have taken courses in art
appreciation, movie studies, and art related to advertisement and mass communication. On top of that I have attended some
workshops on traditional Japanese art like Ikebana and Shodo while studying in Tokyo. In spite of all of this background, I always had
a passion for sculpture, but it was not easy as you need equipment, place, space, and of course money! The easiest was to draw and
paint since you can do it almost everywhere. Nevertheless, I have always kept my ideas and doodlings for sculpture in small notes or
margins of my books. I am still waiting to implement most of them although some no longer match my taste and style! As a matter of
fact, the first award winning (Al Daneh) sculpture last year (water taps) was first implanted in my mind around 15 years ago while
studying in Japan. It took too long to bloom! I have hundreds of sketches for sculptures that are waiting to be made.
Can you tell us your biggest influences in art and how they have affected your work? Are there any current artists who you really
admire?
Looking back on my art life, there are many factors that had an impact on me as an artist. When I was a child, I remember my uncles
and some relatives were good painters but they never pursued art or participated in art exhibitions. I also had good art teachers at
school who encouraged me to draw and participate in school art competitions. Studying at technical high school helped me a lot in
learning engineering perspective and technical drawings in addition to technical skills like welding, carpentry, and casting. While a
teenager, my father owned a carpentry shop where I learnt carving and engraving small traditional crafts like boats and pearl chests.
Later, when I studied in the US, travels to Europe, and studies for 6 months in Japan I got exposure to both Eastern and Western
traditional and contemporary fine arts. But I would say that the wrap up of my art life was when I met a colleague who introduced me
to modern fine arts after which I could integrate all my academic backgrounds and experiences for art.
What are some of your favourite materials to work with?
My favorite material to work with is, of course, acrylic for painting. I think Oil colors are beautiful but a bit messy especially when you
have kids! As for sculpting, I love to play with clay and adore the flexibility & friendliness of its nature. Working with clay has its own
spiritual feelings; perhaps, because we were created from an extract of clay!!
How long does it take to complete a sculpture?
Well, it's relative and depends on the size and medium. The last sculpture of the pregnant woman that I participated with took around
45 days of working around 6 hours a day. It was a very difficult one and gave me a hard time. In addition to the steel work, I had to do
the knotting, which took a longer time than I ever expected. However, the elation was great!
When you first started being active in the art circle, did that change your work?
Although I am in the art circle, I don't have any inner circle that I hang out with or associate myself with. As I said earlier, I try not to be
influenced by others' style, but love to learn techniques and tips from them. In art, I like to be independent so I can grow gradually
and form my own identity and signature.
Could you tell us about your winning entry at the 38th Annual Artists Exhibition?
My winning sculpture was called "Fertility, Knots & Locks of Love". It's a 2.2 meter steel structure sculpture of a pregnant woman. I
tied fabrics (knots) and padlocks to the sculpture's surface. As you know, the theme this year was "Woman". So, I thought nothing
differentiates women from men more than the ability to give birth. Pregnancy is also a major factor in the continuity and survival of
human beings. Basically, I wanted to show that a pregnant woman is beautiful regardless of the physical changes that she goes
through. It's very feminine and fine looking especially the curved shapes (Lines of Beauty) as depicted by English artist and writer,
William Hogarth. I used two mythological concepts (knots and locks of love) in the sculpture to convey the message of love, marriage,
and pregnancy. Locks are used in both the East and the West to emphasise the love of two. You can see locks put by lovers on
chains on two sides of The Great Wall of China and the key thrown in the valley. The same idea exists in Rome or Paris where lovers
fix locks on the bridge fence symbolizing their eternal love. They throw the keys into the river and say we are locked together forever.
This is called 'Love Locks'. Similarly ribbons or a piece of fabric 'knots' can be seen in Japanese shrines, some Western and South
American weddings or even in some Middle Eastern countries symbolizing connection, engagement and tying together. It's called
'Love Knots'. I employed these two concepts to show that the baby or child is going to lock and tie the parents together forever
regardless of their marital status - even if they get divorced!
What has been the most interesting response you have received from an audience member after they've seen your works?
I heard many comments from different people. One of them was "You are a banker and you come up with these great works, what
would have been if you were a full time artist?" I also like when I hear from people that my artworks are original and different. When I
meet people, they remember my different works and I hear them talking about it even after long time. It shows that my works affected
them somehow and had an impact on them otherwise they would not remember them in such details. Usually, if you go to an
exhibition, the work that you remember after a while is supposed to be a good work and had an impact on you. In this year's
exhibition, I saw a little girl, nagging her father to buy my 2.2 meters steel sculpture of a pregnant woman!! It seems my works has
appeals to both kids and mature audience. As an artist, I love to see this kind of feedback from all ages.
What ideas or issues do you feel are currently influencing your work?
I am inspired usually by Mythology symbols that are often found in religions, cultures, or traditions. It's nice to convert those concepts
into an artwork. These concepts can be made easy for ordinary people once they are in different form of art. In addition, it's nice to
transfer a metaphysical concept into a physical one that can occupy a space, be seen and touched.
Are you a part of any artists groups or organizations that have been beneficial to your work as an artist?
I am a member of the Bahrain Arts Society. In general, there is no art movement that you can benefit from as there is no philosophical
or ideological movement behind art in the region. However, we have some kind of art activities nowadays which give you more
exposure to different styles and techniques.
As an artist, what has been your greatest resource?
As I stated earlier, usually my greatest resources come from mysticism and mythological concepts. I also love to paint major novels
story on canvas after reading them. I did that in the 90's, but did not finish my series of novels and books read. I painted novels like
"Animal Farm" forGeorge Orwell and "The Conference of the Birds" by Farid al-Din Attar and some other novels.
And finally, what are you currently working on?
I am currently working on an exhibition for my doodling that was done at work. Throughout my work career, since graduation, I have
dated and kept my doodling notes which come directly from my subconscious while my mind is busy and occupied with something
else like engaging in a telephone conversation. I think the concept of exhibiting such a work will be new.
I am also planning to have an 'Open Air' life-size sculpture exhibition in a public area like a park or corniche. I have already discussed
the plan with a friend and he is joining me in the exhibition as he is a steel sculptor. I believe that we need to have such public art in
Bahrain. In fact, we lack modern urban sculptures in the public.
The following is the link to the source:
www.artbahrain.org/web/passion…
artBahrain visits the studio of emerging Bahrain artist
Adel Al AbassiHow long have you been an artist and how did you become one?
Well, it's difficult to answer this question as I always loved art and had the ability to draw and paint since my childhood; however, I can
say that I had the ability to draw but I was not thinking like an artist until I met a colleague who happened to be an art collector and
intellectually well informed about art and especially art in the Arab world. He introduced me to the Abstract Expressionism school of
art and gave me a book called, "Concerning the Spiritual in Art" by Wassily Kandinsky, an influential Russian painter and art theorist.
From this book, I learned that there are spiritual forces in art and that the artist's mission and task is to lead others to these forces.
The book also taught me that art should not only have a physical effect on the eye, but it should have a deeper effect, touching the
inner feelings and the soul. Besides that, I had the opportunity to go through his art collection and get ideas about real art and the
trends. I think this was the turning point in my art life to start thinking like an artist.
How has your art work changed over the years, would you say you have grown in slow measured steps, or have there been
radical shifts in your art making over the years?
Regardless of the big shift in my art thoughts and knowledge, I am very aware of the development of my style. I refuse to follow the
market trend or the collectors taste. Having a good career on which you can live gave me an advantage not to drift into commercial art
or to jump from one style to another just to satisfy my target market. I have always said that I live for art and not from art! Back to your
question, my style has gradually evolved over the years from realism and surrealism to expressionism. I am not sure where I am
heading in terms of style and would like to leave it for the time so it matures organically or as Arabs say, is cooked on a slow fire! I
have always been very critical of those artists who jump from one style to another without developing that style gradually. To me, an
artist's development is like a mystical journey in which one has to go through different spiritual stations or developmental levels. One
cannot just jump from one state of consciousness to another or from one mood to another to attain enlightenment. So, similarly, in
order to transform from one style (station) to another, one has to earn it by his/her self's own efforts and labor.
You were trained in painting, but your recent works all seem to be sculptural. What made you make the transition?
Art is not my Academic background. I went to technical high school where I studied casting, welding, and mainly Diesel Engineering.
I did my Bachelor and Masters(MBA) degrees in Business Management in the USA. Nevertheless, I have taken courses in art
appreciation, movie studies, and art related to advertisement and mass communication. On top of that I have attended some
workshops on traditional Japanese art like Ikebana and Shodo while studying in Tokyo. In spite of all of this background, I always had
a passion for sculpture, but it was not easy as you need equipment, place, space, and of course money! The easiest was to draw and
paint since you can do it almost everywhere. Nevertheless, I have always kept my ideas and doodlings for sculpture in small notes or
margins of my books. I am still waiting to implement most of them although some no longer match my taste and style! As a matter of
fact, the first award winning (Al Daneh) sculpture last year (water taps) was first implanted in my mind around 15 years ago while
studying in Japan. It took too long to bloom! I have hundreds of sketches for sculptures that are waiting to be made.
Can you tell us your biggest influences in art and how they have affected your work? Are there any current artists who you really
admire?
Looking back on my art life, there are many factors that had an impact on me as an artist. When I was a child, I remember my uncles
and some relatives were good painters but they never pursued art or participated in art exhibitions. I also had good art teachers at
school who encouraged me to draw and participate in school art competitions. Studying at technical high school helped me a lot in
learning engineering perspective and technical drawings in addition to technical skills like welding, carpentry, and casting. While a
teenager, my father owned a carpentry shop where I learnt carving and engraving small traditional crafts like boats and pearl chests.
Later, when I studied in the US, travels to Europe, and studies for 6 months in Japan I got exposure to both Eastern and Western
traditional and contemporary fine arts. But I would say that the wrap up of my art life was when I met a colleague who introduced me
to modern fine arts after which I could integrate all my academic backgrounds and experiences for art.
What are some of your favourite materials to work with?
My favorite material to work with is, of course, acrylic for painting. I think Oil colors are beautiful but a bit messy especially when you
have kids! As for sculpting, I love to play with clay and adore the flexibility & friendliness of its nature. Working with clay has its own
spiritual feelings; perhaps, because we were created from an extract of clay!!
How long does it take to complete a sculpture?
Well, it's relative and depends on the size and medium. The last sculpture of the pregnant woman that I participated with took around
45 days of working around 6 hours a day. It was a very difficult one and gave me a hard time. In addition to the steel work, I had to do
the knotting, which took a longer time than I ever expected. However, the elation was great!
When you first started being active in the art circle, did that change your work?
Although I am in the art circle, I don't have any inner circle that I hang out with or associate myself with. As I said earlier, I try not to be
influenced by others' style, but love to learn techniques and tips from them. In art, I like to be independent so I can grow gradually
and form my own identity and signature.
Could you tell us about your winning entry at the 38th Annual Artists Exhibition?
My winning sculpture was called "Fertility, Knots & Locks of Love". It's a 2.2 meter steel structure sculpture of a pregnant woman. I
tied fabrics (knots) and padlocks to the sculpture's surface. As you know, the theme this year was "Woman". So, I thought nothing
differentiates women from men more than the ability to give birth. Pregnancy is also a major factor in the continuity and survival of
human beings. Basically, I wanted to show that a pregnant woman is beautiful regardless of the physical changes that she goes
through. It's very feminine and fine looking especially the curved shapes (Lines of Beauty) as depicted by English artist and writer,
William Hogarth. I used two mythological concepts (knots and locks of love) in the sculpture to convey the message of love, marriage,
and pregnancy. Locks are used in both the East and the West to emphasise the love of two. You can see locks put by lovers on
chains on two sides of The Great Wall of China and the key thrown in the valley. The same idea exists in Rome or Paris where lovers
fix locks on the bridge fence symbolizing their eternal love. They throw the keys into the river and say we are locked together forever.
This is called 'Love Locks'. Similarly ribbons or a piece of fabric 'knots' can be seen in Japanese shrines, some Western and South
American weddings or even in some Middle Eastern countries symbolizing connection, engagement and tying together. It's called
'Love Knots'. I employed these two concepts to show that the baby or child is going to lock and tie the parents together forever
regardless of their marital status - even if they get divorced!
What has been the most interesting response you have received from an audience member after they've seen your works?
I heard many comments from different people. One of them was "You are a banker and you come up with these great works, what
would have been if you were a full time artist?" I also like when I hear from people that my artworks are original and different. When I
meet people, they remember my different works and I hear them talking about it even after long time. It shows that my works affected
them somehow and had an impact on them otherwise they would not remember them in such details. Usually, if you go to an
exhibition, the work that you remember after a while is supposed to be a good work and had an impact on you. In this year's
exhibition, I saw a little girl, nagging her father to buy my 2.2 meters steel sculpture of a pregnant woman!! It seems my works has
appeals to both kids and mature audience. As an artist, I love to see this kind of feedback from all ages.
What ideas or issues do you feel are currently influencing your work?
I am inspired usually by Mythology symbols that are often found in religions, cultures, or traditions. It's nice to convert those concepts
into an artwork. These concepts can be made easy for ordinary people once they are in different form of art. In addition, it's nice to
transfer a metaphysical concept into a physical one that can occupy a space, be seen and touched.
Are you a part of any artists groups or organizations that have been beneficial to your work as an artist?
I am a member of the Bahrain Arts Society. In general, there is no art movement that you can benefit from as there is no philosophical
or ideological movement behind art in the region. However, we have some kind of art activities nowadays which give you more
exposure to different styles and techniques.
As an artist, what has been your greatest resource?
As I stated earlier, usually my greatest resources come from mysticism and mythological concepts. I also love to paint major novels
story on canvas after reading them. I did that in the 90's, but did not finish my series of novels and books read. I painted novels like
"Animal Farm" forGeorge Orwell and "The Conference of the Birds" by Farid al-Din Attar and some other novels.
And finally, what are you currently working on?
I am currently working on an exhibition for my doodling that was done at work. Throughout my work career, since graduation, I have
dated and kept my doodling notes which come directly from my subconscious while my mind is busy and occupied with something
else like engaging in a telephone conversation. I think the concept of exhibiting such a work will be new.
I am also planning to have an 'Open Air' life-size sculpture exhibition in a public area like a park or corniche. I have already discussed
the plan with a friend and he is joining me in the exhibition as he is a steel sculptor. I believe that we need to have such public art in
Bahrain. In fact, we lack modern urban sculptures in the public.
The following is the link to the source:
www.artbahrain.org/web/passion…
Join the community to add your comment. Already a deviant? Log In
A Journey
2 min read
To me, Art is not just a reflection of life, it is Life itself. I see art and beauty in almost everything, in all aspects of life; there is no ugliness. I see art in an empty space and in space that is filled with an object. Some say that art is a means of filling an empty space, but I say that even emptiness is an abstract form of art that can be viewed and interpreted differently. We should not forget that the abstract starts where nature and objects end.
When I stand in front of a bare canvas or an empty space, I see it as a sacred zone that needs to be entered and touched gently, with respect, abluted hands and a pure heart. When I stand there, it is if I am at worship and I can take off and ascend into a space within the universe. From this view point, I can express my innermost feelings and escape day-to-day life, transcending to a different level of mind and state of being.
I start a painting without knowing when to stop. This is a critical point for any artist. Knowing 'when to stop' is what makes the difference between a mature artist and others. But like any journey, sometimes you have to land in order to refuel and spiritually recharge.
Each stroke of the brush, use of space, selection of colour and choice of texture brings abstract meaning over and above the individual lines by appealing to the sub-conscious.
A common feature that you may see in all of my paintings is a source of light, which is a way of escape - a journey from the dark.
Adel Al-Abbasi
Manama, Bahrain
When I stand in front of a bare canvas or an empty space, I see it as a sacred zone that needs to be entered and touched gently, with respect, abluted hands and a pure heart. When I stand there, it is if I am at worship and I can take off and ascend into a space within the universe. From this view point, I can express my innermost feelings and escape day-to-day life, transcending to a different level of mind and state of being.
I start a painting without knowing when to stop. This is a critical point for any artist. Knowing 'when to stop' is what makes the difference between a mature artist and others. But like any journey, sometimes you have to land in order to refuel and spiritually recharge.
Each stroke of the brush, use of space, selection of colour and choice of texture brings abstract meaning over and above the individual lines by appealing to the sub-conscious.
A common feature that you may see in all of my paintings is a source of light, which is a way of escape - a journey from the dark.
Adel Al-Abbasi
Manama, Bahrain
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