2023-06-12 20:27:14
The Egyptian artist “Monelle Janho” merges emotion with imagination through the logic of cubist expression, so to speak, to create plastic balances that combine rationality and romance, according to the duality of man and woman, and within the concept of contradictions, so that line and form share the language of artistic simulation with an aesthetic that interacts with sensory visions In other words, the interaction between meaning and style according to a plastic formula is an attempt to reveal the foundations of existence, which is the woman and the man. And the construction is within the objectivity of the systems that are rhythmically embedded in it, so that it has tones through which it restores the positions of beauty in women and men away from the body, despite its adherence to the bodily form and its zigzags, and even its feelings that are drawn with colors, to refer to what is more sensual than material despite its interest in standards and criteria, Contradictions, shadows, light, and other plastic vocabulary that you adhere to rationally, even if feelings overflow with emotion, to create a self-being for both men and women. Devising shapes in one space, and the convergence between the far and the near, to indicate the times of the development of the binary woman and man, as a kind of fluctuation between the past and the present, and even sticking to what raises the eye when the overlap between the concepts that we believe in plastically, and the other that we quarrel with if not say we disbelieve in it in the sense We completely renounce it, even if we translate it into existence, which is a romantic ritual that indicates the elements of survival and continuity, and if we show the importance of its existence in drawings that are sometimes gray existential stories, in the sense of neutrality in the ideas adopted by “Monel Delinquency” in her painting, which aroused my curiosity more than once to write about it. The chromatic shade between a woman and a man is an extension of light in which the times break, to form a spirituality between the harshness of the lines and the softness of the color when it is linked to the transparency and extension of the light in particular. Poetry in life is not enough for a man and a woman to meet, as there must be victories over the harshness of reality with its lines that represent many forms between horizontal, vertical and parallel, in addition to the blurry ground on which each couple stands, who started with feelings, and then moved away towards the past that made it far away to distract all the disturbances it might have. The circumference occurs with its plasticity, which is shaped like muscles that hold each other, and if it appears as similitudes that highlight the complementary relationship away from Platonism and ideals. Is her message in plastic art the message of life that every woman desires? Or does it combine women and men in an eternal way through plastic art? Does romanticism adhere to the rationality of modernity, refined by its aesthetic visions in art?
The color forms in the paintings of the artist “Monel Janho” constitute a visual richness that tends to innovations that drown in a kind of composition or deconstruction, or even what constitutes a language that is the preservation of body language, and its importance in art in terms of the value of romance, and the ignition of sentiments associated with meditations that are particularly open to flow. The rhythm of the feelings, affected by the different colors that emanate from the nature of the dualities, in their appearance and in their interior, from imaginary suggestions, through which the strength of the feelings and their relationship to the self and the other, but rather to being in general, emerge. Each other, even if the color shapes take a kind of contrast between cold and warm or between light and dark, to separate materialism and spirituality through the aesthetic value between shape and form, despite the vast differences between the square, the triangle and the rectangle or even between the hand and the one hand, and even between what is hidden Or what is apparent, so that the senses of the recipient penetrate to where the aesthetic emanating from the relationship between a woman and a man is represented. Did “Monel Junho” preserve in her paintings the language of plastic feelings in art?
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