Marilyn, the president’s necktie and batman undressing
to go to bedThis project is the day-to-day progress in my research
of the iconography of a metamorphosing universal contemporary
identity, despite the diversity and specificity of cultures
and heritage of each region I lived in or visited in the past
decade.
It is certain that throughout history, iconographies continuously
mingled in a cumulative process of cross-fertilization and cross-influence;
this phenomenon is found more today than any other time in the
past, due to the nature of open-skies, parabolic satellites,
mass media, universal communication, and freedom of access to
all/any information.
I personally believe that this process of cross-influence is
not just a linear process in which certain elements are used
beside each other or in sequence to express an idea; the use
of the historical references may denote not only time (history)
but also the cultural specificity of a place (space); this versatile
significance combined with the use of today’s technology
of image transfer like photography, video, printing and collage
renders the creative process extreme sophistication that transcends
space and time.
For the past ten years I have been using collage and image transfer
techniques to juxtapose images of East and of West, searching
all the time for tangential points, areas of similarities and
differences, trying continuously to find/create a language capable
of representing ideas legible to both East and West.
In my research I try to bridge between both cultures to attain
a synergy of power for both languages to move together forwards
rather than to clash if movement is in opposite direction.
In my previous work as in my current project Marilyn, the president’s
necktie and batman undressing to go to bed I try to probe the
sacred versus the commercial, the permanent versus the ephemeral,
the established versus the experimental, while applying at the
same time a continuous process of revisionism to contemporary
art history; for the latter I re-interpret master paintings
of artists like Kazimir Malevich, Andy Warhol, Jasper Jones,
Joseph Kosuth Magritte; paintings that became icons/references
of contemporary visual education.
In my work Batman (consumer goods advertising mass media icon)
features alongside Anubis, the God of the deceased/cemeteries
and mummification (symbolizing the sacred).
It is beyond any coincidence that when we look at a small model/statuette
of both Batman and Anubis from the front or from the back we
find them identical, the only difference is in profile. The
contemporary super hero has the mask of an animal and the musculature
of a perfect man, just like scared ancient Egyptian Gods.
It is beyond coincidence that both super heroes assume similar
function that is “protection of the body against the evil”.
And it is certainly beyond coincidence that ancient Egyptian
painting was very two-dimensional as opposed to the stupendous
three-dimensional sculpture that exceeds perfection. The reason
for that is that ancient Egyptian paintings were ONLY meant
for their narrative, and not to overlook the narrative to appreciate
painting aesthetics; two dimensional ancient Egyptian painting
is thus the first known comic strips in history; after all,
comic strips are expressive two-dimensional paintings with texts
to confirm the action in the drawing; both texts and drawings
confirmed each other.
Comic strips patterns are thus the most effective tool for communication
in history, a tool capable of containing elements of cultural
similarities, transcending along the way both space and time.
In my current mixed media works, I am also interested in movement,
an element that was indispensable in ancient Egyptian painting,
where all painted elements were in motion, as opposed to Egyptian
sculpture that always caught the protagonists in a “pose”,
nearly always static. In contemporary culture dominated by a
century of film and animation, the similarity between these
ancient and contemporary forms of the kinetic is intriguing
to me, and a focal aspect of my research.
The interpretation of master paintings on parts of the surfaces
intermingling with other hybrid neo-Egyptian iconography is
a process not an end result; I let paint leak from the far-from-perfect
interpretation, I use ancient Egyptian stars in the Jasper Jones
flags, I use images of Nasser in Andy Warhol-like backgrounds,
I use a blue which is not Yves Klein’s, I use a cup of
cappuccino instead of an apple to cover the face of Magritte’s
portrait. The objective to try to tackle the visual memory of
the viewer, and give adequate imperfections that succeed easily
in giving the same effect as the original near-sacred museum
pieces.
Khaled Hafez, 2002