S     U     L     I     M     A     N      A     L     S     A     L     E     M

THE STATE OF BEING

About

 




Using a variety of materials, including video, sand, printmaking, animation, and oil colors, under the title “Floating on the Horizon.” Al Salem, who was known for his distinguished artistic participation in the Noor Al Riyadh and Art Dubai events, calls here to explore his artistic world, which takes the flexibility of the mind as a starting point, addressing the concepts of perception and memory in a style that ranges between imagination and magical realism. Through this series , Al-Salem takes the audience on a journey that transcends the individual boundaries of human experience, expanding the horizons of collective memory.


Alexandra stock

Curatorial Director, Hafez Gallery



In this series, I try to exploit the working conditions of the brain to create endless fantasies through the scene of the interruption of the broadcast “distortion” that drops the difference between beauty and chaos, as I try to examine the concept of imagination as a creative ability to form a mental image of unreal things and shed light on the concept of human heritage and collective memory in our contemporary time, through three main topics: memes, apophenia and facts. These topics lead me to contemplate the cultural impact that has befallen modern societies after the presence of screens. The screen became part of the lives of ancestors around the world, and the culture, ambitions and ideas of their children were affected by what they watched. Those screens missed the broadcast a lot, and the scene of distortion appeared in them.


i uses lenticular printing, which is one of the materials that has taken part of the collective memory of the generation without realizing it. It is one of the materials that exploits the way the brain works to deceive it and make it see the fixed as moving. It is a material very close to the video that i have worked on for years. This material enables me to convey the feeling of the abundance within the artwork through movement, which is one of the methods through which i sought to obtain interactive artworks and models, but outside the digital world.



I also uses natural sparkling sand that comes in different colors, and I mix it manually in the studio until I reach this result. The first attempts in experimenting with the material were to reach the scene of the interruption of the transmission "noise" in order to take it out of the digital world and control it in the Art world. It is like a state of meditation on chaos and organization at the same time until this magical and interactive material is achieved. Dealing with this material that consists of millions of grains of sand requires high precision from the first steps with adjusting the desired color degree and then spraying with professional technique and extreme precision until the layer is even. To a thin and even layer on the surface of the 3D model. In choosing the models, I follow elements that intersect with the concepts of life and consciousness for humans