Olivia Sculpture

NAGUIB MOEIN Naguib was born in Egypt 1981. He graduated from the faculty of fine arts in Alexandria in 2003 from sculpture department. That same year he started his Masters in monumental sculpture and he achieved his Master in 2009. He also achieved sculpture master from the Academy of Fine Arts in Carrara, Italy in 2014. Naguib has been working as a professor in sculpture in the Faculty of Fine Arts in Alexandria since 2004. He has also been part of the Egyptian Contemporary Art Movement, since 1998. He had been participating in many symposiums and exhibitions in different countries from 2000 to 2012 and he did receive several awards for his work. From 2012 he moved to Italy where he started to create his artworks at the Nicoli Studio in Carrara and from 2014 till 2015 Naguib studied and created his own artworks at Wunsiedel Center in Germany. Gambling on an individual identity By Dr. Yasser Mongy Sculptures we come across in this exhibition appear to be in a process of metempsychosis. Their gaze is reminiscent of flirting look of beautiful blondes introduced to us by exponents of the Northern and Fleming renaissance, such as Hans Memling, Rogier van der Weyden; almond eyes wearing eyeliner seem to be surrendering to an overpowering destiny. In the meantime, they appear to be attempting an escape to the depth of soul, rebelling against body's metaphysical presence and desires. The gaze of these sculptures is a communication of worries of the Gothic soul, which overwhelmed Europe, especially its northern part in late Middle Age to early 15th century. Perhaps, this Gothic soul did not reveal its powers in art and faith. Faith and its rituals were moulded to a discipline so inescapable and strict that souls would stand trembling at the gate of Jahanam (Hell), attempting to disassociate itself from the hedonistic pleasures; and yearning, instead to associate itself with heaven. On other hand, art committed itself to honestly communicating better understanding of the afterlife by bringing about physical concepts and symbols of the afterlife. Accordingly, places of worship, such as admirable cathedrals and churches soared to the sky; and sculpture and painting melted into the overwhelming religious architecture to express spiritual feelings. It was such an overflowing melting pot, from which Egyptian sculptor Mohamed Naguib Moein drew his inspiration to create a singular experiment within the frame of classic concepts of aesthetics.