Ahmed Canaan is marked with permanent renewal in his artworks, in each exhibition, he used to surprise the recipient, and took him sightseeing with the content of the envisioned idea ,combined with the beauty and strange distribution of colors over the piece of cloth, focusing on the use of disclosure means of the focus centre in the painting, like inverted color, and precise movement, which sets borders, dimensions and the content of sculpture.
His new works drew me and reminded me immediately about the Al- Mashrabiyat (Oriels) that show more than they hide of the faces and beauty of smiling women in a way that raise in the recipient a state of defiance and cynicism in one case.
They are usually made of wooden curtains with creative geometric form placed in traditional conservative societies like Syria, Yemen, North Africa and Andalusia, and their objective prevents spam stalking and look at the sanctity of the home and into the custody of women in particular.
They also managed to enable women to sit behind the vision of space allowed by opening the window and monitor every movement, also allowing the air to enter into the house space.
The painting Shows faces of beautiful women, covered with a wide angle smile. I do not know whether the artist intended it to be stupida cynical smile,they are smiles of defiance, a terrible reality imposes on women to look at the world through the narrow aperture of the mentioned Oriels.
We can understand the criticism of the artist to this situation, when we note that he put a semi framework for these quasi oriels, reveals horses with guards in the form of men, as if the women surrounded, not only the Oriels, but also mentioned framework.
I considered the stark colors of the painting, which talking about strikingly and provocatively, for the moment I felt as if it was addressing me, addressing my obsession, the obsession of the status of women in Arab societies.
I have seen that it is difficult to know this captive, whether who stands opposite the orielsstands behind?
Social freedom is not really true unless it is holistic and comprehensive, as men and women alike. If we look closely at the painting, we find that smiles reveal a kind of challenge that distinguishes insights and aspirations of those faces.
What drew my attention, is that the artist began to come over the question of focus on a particular motive in his remarkable artistic evolution, with a conscious choice, chooses from the angles covered various artistic and technical visions, and forms that may seem at first glance of the recipient and repeatedly reproduced samples, but in reality are not, but like at different and complementary to each other, he is trying to reflect what is in his view.
The motive that often faces the recipient and visitor of the exhibition is the knight. This knight appears in his various art works. As a Polyphonic professional, the savior Knight and it is most visible in the plate Salahuddin, the hoped and expected knight. This shows the knight of dreams, who is waited by young girls to come on the back of a white horse and transmit her to the nest of happy married life. There, the knight is hiding behind iron and wooden walls, as if the artist expected the moment of being hidden to exercise a free and dignified life.
The artwork that often made me pause appears when a person in relatively advanced age, goes on a long road does not seem to end, and the path and the person were surrounded by unclear characters 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, the image of the Palestinian made to walk in the path of the Diaspora alone and without helphelper.
The picture that drew most of my attention was the painting My Queen, which Ahmed Canaan painted following the great world and Arab painters, who traditionally Commemorate their wives through bright and beautiful drawings, reveal the magnificence of appreciation, even worship, and love that they feel about their wives, the love that is not ageing is not boredom ,a renewable love like the seasons.
Ahmed has chosen consciously the motive of the knight. In my view it was a beautiful motive with its diversity, but problematic in my knowledge, but this does not detract ever from its artistic beauty.
By:Ibrahim Malik , Kfar –Yasif
Translated by Ziad Labadi