Ahmad Canaan: The Transition from the Allegorical Woman to the Woman of the Daily Life.
Since the seventies, the image of the woman and its symbolizations in the works of various Palestinian artists has emerged as a national mythos, that is, a forceful element that represents the nation. The connection between the woman and the homeland was established insofar as the mother’s conception of her children complements the homelands (i.e., motherland) offering of a sense of motherhood to its people (Kandiyoti, 1991, 429), despite the wide gaps between representations of the woman’s body in art and literature and its role in real life (Tarabishi, 1997, 3-10). In her two articles of the same year, Tina Malhi-Sherwell contends, with particular reference to artistic works from the seventies and the eighties, that the woman’s body is basically necessary to preserve an identity and national genealogy (Malhi 2000a, 2000b). Also, Vera Tamari and Penny Johnson both present works by Palestinian painters that demonstrate projections of the enlarged symbolic woman as a model of pain and the motherland. For example, in both Taiseer Barakat’s and Nabil al-Anani’s works among others, “the woman’s body is enlarged and women wear clothes that through its embroidery transmit the abstract character of Palestine’s nature. Their eyes never meet the audience’s to suggest a dreamlike gaze directed toward the future (i.e., alluding to the return to the distant motherland). That is, the woman’s inflated body manifests the idea of the stolen land (Tamari, Johnson, 1995, 164). This is not to say that the woman has been envisioned in allegorical fashion to those of goddesses and saints (Hajjaj, 2001, 43) even though Kinaan exemplify what Sherwell, Tamari, and Johnson claim regarding the incorporation of the woman into the home and land in several of his earlier works as in Anat’s collection.
Ahmad Canaan is listed among the most prolific artists, with a 30-year artistic career, during which he created hundreds of artistic works spread worldwide. He adopts a unique artistic style, expressing his inner self as a multidisciplinary artist, both as a painter and a sculptor.
By following up on the artists creations throughout the past decade, we have witnessed a constant progress in his artistic career, on both stylistic and thematic levels. What distinguishes Ahmad from others is the selection of themes which represent him as an Arab person belonging to this land, and inspired by his society and surroundings.
In this article, I will address some of these themes, divided into multiple collections: the Cavalier collection, the Refugee collection, the Wedding collection, the Illegal Residents collection while the Woman collection will be addressed by Dr. Aida Nasrallah in a separate article.
The Quest for Identity in Ahmad Canaans Work
Ahmad Canaan – Sculptures
Tamar Hurvitz Livne
Nothing but light, and the work of Ahmad Canaan
By Bashir Makhoul
Die Welt Drucken Bewerten Autor: Lili Eylon| 24.12.2010
Wohin des Weges?
Arab Artists in Israel Await No Favors
by Dani Ben Simhon
Issue93 cahllinge magazine
, September/October 2005
A taste of colours and contradictions
Anne Baisch, English translation by Ulrike Steffen
Palestinian Art at Jaffa Port
Written by: Ayelet Dekel
Ahmed Canaan:The Storyteller between Realism and Dream of Flight
This Catalogue includes the paintings of the artist Ahmed Canaan ,between the years 2005-2007
Ahmad Canaan: The Dreamer Knight
This catalogue contains a selection of Ahmad Canaan’s works from 2005-2007. These works focus on the theme
The Knight a beautiful motive
and features, as if they were characters of hidden and camouflaged Knights, as if the artist Ahmad Canaan transfers to us with his pencil the image of the reality we live
To be “On the horse” and behind the screen
Due to the Islam’s ban on creating any animalhuman figures since its very first days, Muslim artists have turned to the art of trimming and decorating and have done wonders
The Knight Composite -Disjointed -in the works of Canaan
If We want to define the identity of the artist Ahmed Canaan, there is no better expression than of saying that, he is
The Unity of Contrasts
“Kenan/Kanaan” is an exhibition on the subject of culture, identity and language - the basic constituents which have motivated the art world since the dawn of humanity. These constituents are embodied
Returning to the roots A reading in the exhibition of Ahmed Canaan A’NAT
first visit to Nazareth was connected to the exhibition of the artist “Ahmad Canaan”, I went there to look for the roots of the family in Nazareth, but I found myself meeting with
The Intimacy of Solid
When we trace Canaan’s artistic autobiography over the last decade, we can see that he was and
Canaan’s artistic work
Canaan’s artistic work includes sculpture and painting. He has produced a number of sculptures using liberal amounts
The many shapes of roots produces art which unites all times and thereby consolidates the identity
The drizzle of the past sprinkles from his sculptures, linking the power of a bygone civilization to a hope lived by ..