A sheaf of works in an idyllic trance

Mohamed Sanoussi, an abyssal painter Saoudi El Amalki Meditate on the dapper masterpieces of the artist-painter If Mohamed Sanoussi is, be seized by an adventurous universe whose shores are perhaps never identified. The interactive dimension of the visual artist , so abstruse and tangled that it makes you want to go to the confines of contemplation.

Mohamed Sanoussi, an abysmal painter

Saudi El Amalki

Meditate on the dapper masterpieces of the artist-painter Si Mohamed Sanoussi est, be seized by an adventurous universe whose shores are perhaps never identified. The interactive dimension of the visual artist, so abstruse and entangled that ‘it makes you want to go to the limits of contemplation.

As a result, we are constantly faced with a vibrant canvas, with bright colors, vehement movements and unified disparities, inviting complicity or at least acceptance without any feeling of rejection or antipathy. However, the atmosphere in which one is deliberately embarked never leaves silent without being fascinated not by the phosphorescences of creative maturity, but also by the skill of the choice of the themes approached.

The work of Mohamed Sanoussi is like a hollow maze, the more one enters it, the more one sticks to it and the less one moves away from it, the less one approaches it. The artist so subtly masters innovative technicalities, so much in brightness, sound as in suave impetuosity that his painting puts the receiver in a state of sensual enjoyment, by the magical harmony of the links of the proposed research. But, the transition to this emotional playfulness is by no means painless, during the cavalcade of reflection and deciphering because the performance, so opulent in symbols, contains zones of turbulence and heartache.

Sanoussi’s artistic finds are not a moment of “laziness” where the visitor takes it easy, without being mistreated or at least harassed in his nonchalance. On the contrary, they suit inclusive thinking, the culpable connivance of finally taking a position, the inner self-satisfaction of this warm invitation, abolishing lazy passivity. Van Gogh, the illustrious Dutch naturalist and impressionist once said to this: “The heart of man is like the sea, it has storms, it has its depths and in its depths, it also has pearls! “. Sanoussi is a real goldsmith of plastic art, an authentic jeweler of tonality and musicality which the skeins of this pure art cannot betray.

He is a maniac of coherence, a madman of creation and to reach this stage of the bliss of art at the height of noble and humanistic exultation, he must suffer so atrociously to give birth to this magic. surrealist. Sanoussi loves his art and respects it, which is why he transmits it with mad love, because he also loves people and respects them. He never tolerates that he offers them platitude and mediocracy! The same Dutch pointillist also liked to say in this sense: “There is nothing more truly artistic than loving people! “.

It is for this and nothing else, that Sanoussi “buried” the status of woman in her works and echoed it in solemnity to curse the apple from which she would be the reason for exclusion from paradise. That’s also why he never stopped supporting his wife to hold the women’s festival “Fam’art”, with great fanfare. Sanoussi paints his dreams, but renders all his principles concrete, in priority the freedom of women.

The illustrious painter of the 19th century, Van Gogh, who is always taken as a witness in order to illustrate this pantheon of plastic arts, that is Mohamed Sanoussi, had thundered in this respect: “Principles will only be good when they generate actions!”.

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