Moustafa AL HATTER
The important change of my pictorial background took place In the Caribbean, I found myself immersed in the tropical light, which suggested an approximation and rediscovering of color, but the big change happened in Egypt I was touched by its ancient civilizations. Maybe the transformation in Egypt and in the Caribbean was due to the accumulation of remembrances of my travels to different countries all over the world that were finally settled and allowed the technical and stylistic form of my painting. Moreover I began to capture those magical and mysterious moments of life, from the obvious that can be seen by my eyes, to the visionary that is perceived by my heart and soul.
In my work of art, I abandon the representation of reality, and stayed away from mundane affairs. There is an intention to paint from my memory, which gathers and moulds the remembrance of travels, promenades in mysterious old civilizations, and in tropical latitudes. The conventional means of expression is put aside, thus allowing spontaneity with the intention of preserving directness and originality of the living experience.
I have placed my art into compartments, while maintaining a sense of unity. The small painted panels project a microcosm, each of which emerges from a wide rectangular background, suggesting the macrocosm. Moreover, the small panels reveal a subtle intention to represent the finite world in which we live, and to project it as the result of the infinite creation. Painted compartments differ in shape, movement and palette, sometimes suggesting the discontinuity of the cosmos. Nevertheless, I seek the impressions of the infinite world.
I abandon the easel for the table, on which I can place larger panels, and meet the need for more room and full control. I like to increase both the size of the surface to be painted, as well as the area in which I display the activity. One senses that these paintings represent an achievement in a wider context that of the simple support surface.
I do not use color to paint, but to give the spiritual and musical sensation which flows from my enigmatic interior. In other words, I reach the heart of the observer by intensifying all the colors of my palette, thus allowing the mind to find peace and harmony. One of my concerns is to establish the unity color-movement in order to turn the painted space into a piece of art. In addition to the process of placing the color, trying not to repeat the same range of tones. To describe the spiritual significance of my installation. I advocate that the highest meaning of my work of art is always Unity, and showed how it reveals and leads to the principal Unity, and how it reflects the mystery of the manifestation of the One in the many, and the multiplicity in that Unity.
In my work of art, I don’t seek to lead the eye to an imagined world; on the contrary, I liberate it from all preoccupations of the mind. It does not transmit a specific ideas, but a state of being, which is at once repose and inner rhythm...the purest simile for the manifestation of divine reality, which is the center throughout, in each creature, and in each cosmos, without any being or any thing being able to claim to be in its sole reflection, creating an unending reflection of centers in each other: the “unity of being.”
"The wheel of fortune"