Art News

Natiq Aziz ... The dream of the world ...

And the madness of analytical awareness .....

Dr. Salah Hadi Bishn

Critic and visual artist

The strange form of the artist (Natiq Aziz) flows with visual texts that provoke controversy, to raise the problem of the self. It opens the dialogue again towards the world that it is a dual syndrome, i.e. (self / world) in disguised formations where it is formed by a symbolic language of a special style. Hence, the condensation that occurs in his formations with its symbolism is what the artist tries to come out with a meaning. Hence, the conflict between his self and the self of the visible that is in front of us, forms a visual discourse that narrates that there is a consciousness separated from its forms, phenomena and patterns of appearance. Hence, the totality of its forms and phenomena is undoubtedly not always present in this consciousness, so it is a conflict in (the depths of the imagination), so consciousness is madly present by analyzing its perceptions and seeing the world as it sees it.

Despite all those colors and the intensity of his icons, we find them crowded, but they are dominated by a deep concept, which is (silence). He spreads his authority within the space of pure vision, through his keenness to take the cheerful and amazing color path in liberating his mind from previous patterns. And by introducing dreamy subjects that he madly derived from his analytical consciousness from his symbolic intensity in his hidden. (The hidden) that Jung referred to as all contents of a personal nature as much as they are acquired during a person’s life, it collects and recollects its contents, to show those magical combinations that he imagined and that the artist (Natiq Aziz) encountered during his life. His perceptions of things are what give those things an existence with special characteristics in his formations within the artwork. The artist sees that he has a direct relationship with the truth in the world of ideas and ideals (the dream of the world), these perceptions are lost to him through the generativity of forms and their density, which constitute an added value to his consciousness as a perception that gives things their qualities, which are achieved when they come into contact with the material world. As part of the facts that he previously came into contact with in his worlds. Some pure delusions and manifestations concern the narrative of the country's heritage and the mythical understanding in dealing with his subjects, whose rhythms depend on the dominance of the idea in addition to the color richness, paving the way for his magical launch in influencing his basic components of construction and enjoyable formations, which he presented boldly, relying on strangeness as the large tent that embraces his atmosphere and old memories. There is also an informative aspect in his works that the dream worlds are realistic and that there is a transparent and thin curtain between truth and illusion, as it opens to a bottomless depth, and here the artist transports us to the mental aspect of his perceptions, which makes his forms and subjects generative in forms and subjects, and the instantaneousness of the dream moment. This situation prompted the artist (Natiq Aziz) to rely on searching for other new values ​​for the nature of art and the image of the artwork in its strangeness by using the physical law as a comprehensive practice with its distinctive properties in dealing with and constructing its subjects, through which he can build new alphabets in art that have their symbolic and expressive values ​​specific to the artist’s style, in which and with which the buried connections and characteristics in the artist’s inner depths open up to the extent that makes them more comprehensive and more widely understood in the context of his reliance on the mythical and strange employment of his formal and color units, especially since there is an actual difference between the state of the diverse vision of the design display of the structures of his subjects and the expression of the technical values ​​and his stylistic treatments of the surface. However, his analytical awareness highlights a stark difference that lies in the fact that his naturalization of himself is obligated to adopt identification through which he imitates a psychological aspect and his strange stories, once we see him imitating his cultural heritage represented in his Mosul environment, the eye of Iraq and its feminine beauty, and to transform completely or partially through the models of his artistic achievement that that dream or his cultural heritage presents. This happens through a series of impersonations upon which his distinctive artistic style is based or determined, despite the diversity of his symbolic and formal themes, some of which take the aspect of design construction. So we do not find it strange to see the artist Natiq Aziz sitting in front of the painting easel in his studio to capture with his mental ability those scenes that have always practiced their existence in his analytical consciousness to take his hands the brush and cover the whiteness with its dark colors, to find unlimited alphabets of diversity and change in the expressive and visual qualities of the compact shapes. From here, the dark color value of his attracts the recipient to the pictorial surface, which contributed to the occurrence of a visual attraction process, to narrate his ideas in the form of images of the overlapping connection of the specificities of the signifier and the signified and open without a specific definition, and an attempt by him to build more open frameworks for the structure of the painting, which is full of more expressive values ​​within the broad concept of the nature of art. He tries to see what others do not see. There is an obsession with the place and its emotional connections from old buildings, windows, domes, palm trees, cafes and women, carpets and decorations surrounding the place, so we find that his works have condensed the scene into a conflict between families A color scheme where light is sharp and shadow is dark. Blue and its shades often harmonize with the contrasting, fragmented brown, polluted by a floating, lead-colored complexion, and blended intensely to make the movements of shadow and light overlap under a transparent velvet of warm and cold colors.

The artist insisted on giving the recipient and the viewer of his painting a true impression that there is a strange and terrifying logic that controlled its drawing, this is regarding strange subjects. A logic to which he subjected the planning of everything, and thus he declares himself a true ally through the similarity of his methods, so the idea of ​​the unreasonable/dream of the world is established for him and that everything in existence is reasonable, but the relationship of things to each other is unreasonable. He pursues nothingness in its movement, as everything is fleeting and moving towards nothingness, and this is what made the artist document in his works the idea of ​​wandering time, and the illusion of place, as it is fleeting due to the movement of time and its nothingness, to form a world with a narcissistic dream that has the characteristic of extension with the self.