artBahrain.org

Rashid Al Khalifa will unveil his latest work -- a series called “Reflection” at Bahrain Financial Harbour from

January 30 to March 30, 2012. The work exhibits an important step forward in his technique, which he has,

through his long artistic career, been constantly honing in order to find ways to express himself in a singular

and compelling manner.

TIME FOR REFLECTION

The title Reflection conceived from the mirror image of the chromed plated convex constitutes a powerful return to “participatory” art.

Here Rashid shares his personal poetic polysemy through his colours and together with the reflective service of chrome the viewer is

taken to a free-flowing interaction.

The geometric structures and intertwined paint drips creates a maze of chromatic reflection of the viewer - broken, whole, empty,

blurred and full - a glance of reality begins to emerge and the work becomes a full environment for the viewer to participate in an inner

monologue.

REVISTING COLOUR-FIELD

Much of the new work is painted in abstract primary colours, on chrome and stainless steel that is both a departure from, and a

continuation of the “convex” Minimalist work that concluded the Bahrain National Museum show.

In an unexpected “twist,” Rashid moves “colour-field” painting to another level and imbues it not just with personal and internal

reflection, but also with viewer consideration. By applying these selection of colours to evoke the natural elements-- fire, air, earth and

water in a vertical bar syntax -- the lines deliberately form facets intersecting with one another in a four-hue, four-section programmatic

and structural composition. This structure intentionally suggest portals and landscapes -- both jumping out at the viewer, and

receding -- some visible, some suggested beyond.

The grounding of the composition comes with the “antagonistic” technique of black or white liquid lines dripped throughout the vertical

symphonies of colour, providing an intensely visceral physicality to the work and allowing the surrounding environment to be

“mirrored” in the painting.

The protrusion and recession of the composition draws the viewer into a nearly four-dimensional experience, in which one is invited to

“reflect” both literally and intellectually. This conceit of combining reflective surfaces with bold strokes of colour in paint applied in

different densities and with different properties enables Shaikh Rashid to produce a mystical, shimmering effect.

Coupling the natural “elements” with metaphysical concerns of spirit, mind, body and soul -in an abstract and formal composition

presented on a convex surface provides an experience for the viewer not possible on traditional flat canvas.

‘CONVEX’ - FROM LACQUER TO CHROME

The breakthrough “convex” works seen in the 2010 show were executed in red, black, white and grey on canvases stretched in

different degrees of convexity. They achieved their sophistication through a “play of light” achieved through texture and use of different

types of paints -- including lacquer and oil.

This light effect was also enhanced as the artist applied the paint in a variety of carefully chosen techniques -- from traditional

brushes, to scratching, to dragging with fabric, and the actual application of fabric soaked in paint and placed on the canvas. This

brave concoction of materials and techniques created a visual dialectic between thinly applied, shiny, scraped portions of the canvas

and other areas built up with energetic impasto.

The “Reflection” series can be seen as another jump from traditional painting towards more sculptural work. Yet Rashid’s push

towards a more three-dimensional experience is a highly considered balancing act. Fortunately, he does not abandon the intimacy

and personal dialogue with the viewer that can only be achieved by the deliberate choices of application of paint that make each work

totally individual and expressionistic.

The nexus of the achievement enabled by the introduction of the chrome surface is that Rashid has, with an impulse to work from

intuitive and improvised composition, imagined a radical creative language - rife for contemplation and interpretation.

In this show, Rashid Al Khalifa has been successful at weaving together the skeins of his art and his personal reflections through the

mirror technique. This is not surprising as he mirrors the surfaces of his works, yet for thousands of years artists have painted mirrors

into their paintings as imagery referring to the window to the soul.

PAINTING FOR A CAUSE

The upside of this ‘participatory’ art does not conclude with the artwork - viewer - artist involvement only. As part of Rashid’s generosity,

four paintings will be available for purchase at the opening of the show to benefit four selected charities.