December 4, 2018 – October 11, 2019
The fight in Farouk Hosny’s works undoubtedly belongs to Egypt—profound and faint, born of a gentle alchemy that combines the water of the Nile, the water of the sea, and the utterly parched desert.
But the transparency, the way of letting color rise and carry on the surface of other colors that serve as its support that is Hosny’s alone. He works like a poet, filling not just a space but a territory where the imaginary and the real blend in jouissance, indiscriminately producing colors, lines, scratches, mist, long lyrical sinuous lines, slick flat surfaces, brief exclamations, dazzling spatters.
This poetry does not add anything to the world. On the contrary, it toils to remove everything in the way in order to rediscover the essence of the visible.
Here is an apotheosis of painting that breathes deeply and through that motion becomes almost song. These works possess a fervor that, in the abeyance of passion, becomes contemplation. Are Farouk Hosny’s paintings gestural, hazy, formless, and lyrical?
Are they even altogether abstract? The artist, who knows all about these things, dismantles the “ isms” trap.
These paintings avoid elegance, just as they express mistrust of any overly perfect balance. They know how to hold every experience at a great distance from virtuosity, in a state of necessary indecision, improvisation, and risk. Generosity is behind them.
Le Carrousel du Louvre, Paris