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Attyat Sayed do not begin a painting with the image of the whole work previously complete in her mind’s eye, but gradually discovers every detail, making use of the cues of what have been materialized, by alteration, replacing, adding or deleting to capture whatever connotations that would lead to an unexpected painterly form that gives way to interaction of all colors and lines in mixed volumes that surprises even herself, and comprises all elements that becomes endowed with new touches of distortions that depart and simultaneously adhere to the actual real features of her models, landscapes or still-life objects. Also she mixes perspectives and vector lines in the painting, so as to variate, contrast and intercross latent movement vector lines hidden beneath the seemingly lyrical and poetic surface, laden with pastel color whispering in the dependent details that recur like murmurs of a law voiced chorus responding to the thick colors sprouting out of a definite solid form of a still-live object as that of the sewing-machine that became a dramatic expressionistic version or even a color epic bordering on the realistic depiction. She has a richness of palette, besides her deluding brushwork with so adventures, and controlled wild strokes. Attyat’s start point are subjects of ordinary character resting on heavy compact compositions with a daring performance. She is a masterful in line drawing, etching, black and white techniques owing to her long experience as a press-illustrator. She paints at a non-stop daily pace, a continuity that necessitates a psychic and physique stress, transforming her anxiety into tangible visual scenes. This creative is a new venture with every new painting which became a deep-seated custom, opposing any occasional or temporal performance. Attyat creative practice is a hard extended anxiety and tension, becoming a second nature to her.