On Tuesday, June 28, the plastic artist, Yasser Dweik, signed his book “Whenever the colors dry up, pages from the life of the artist Yasser Dweik”, at the Forum of the Great Pioneers. He participated in the ceremony, which was moderated by the cultural advisor, storyteller Sahar Malas, and the historian Dr. Hind Abu Al-Shaar with a paper on the book.
The director of the Forum, the great pioneers, Haifa Al-Bashir, said that this evening, we celebrate the book of a great artist who left a clear imprint in the art world, the artist Yasser Dweik, author of the book “Whenever the colors dried up”, which brings us back to his roots, and the beginning of his artistic career with colors in the city of Hebron. Affection and mercy, and the city of Jerusalem that fraternizes people, and great values have been established in his conscience, and then his journey and life in Jerusalem and other cities.
Al-Bashir pointed out that these cities, with their civilizations and arts, are one of the tributaries of Dweik’s creativity, which provided him with art, and made him soar in the world of beauty, noting that the artist Dweik is one of the members of the technical committee in the Forum of the Great Pioneers, and in this book he puts in our hands a summary of his life experience to share with him that The distinguished trip and learn about the roots of his creativity.
Dr. Hind Abu al-Shaar said that the art scene lacks books that record and narrate the biography of plastic artists in the country, indicating that the biography of great Western and Arab artists was written in books, some of which were written by their owners, or some worked hard and wrote the biography of these adults, pointing out that the biography of plastic artists in Jordan A door that is not open, so the artistic life of art has matured today, and this door must be opened without delay.
Abul Shaar noted that the biography of the pioneer generation of artists who established the presence of this art since the seventies of the twentieth century deserves to be codified, published and celebrated as well, indicating that what Dweik did in codifying these pages is the first step that establishes this experience, and opens the door to a new narrative. After we are accustomed to the memoirs and memories of politicians, it is time to write a biography of art and celebrate its owners.
Abu al-Shaar said that Dweik, who was born in Hebron and lived in Jerusalem, this duality made the place’s dominance over him very clear in his memory and in his paintings. Throughout history in Jerusalem, and in the Ottoman period since 516 AD, Hebron was a district affiliated with the Jerusalem Brigade, and the early Ottoman liberation books record the endowments of the Ibrahimi Mosque, and we do not forget the “dishisheh”, which still characterizes the city of Hebron until today.
One of the most beautiful things recorded in the artist’s memory is his recovery of Khalili grape molasses when he was dipped in local bread, with sesame tahini, as if he was dipping his brush in the burgundy color, which reminded him of the paintings of the famous Dutch artist “Rembrandt.” The artist’s memory in the Kasbah of Hebron cannot be restored without To stop at the vineyards that open up the spaces of their house, or the wonderful blue Khalili crystal and porcelain.
Abu al-Sha’ar pointed out that Dweik summarized all these traditional joys by saying: “I am the son of the crystal rays and the heritage formations that characterize the dishes and utensils of the glass and porcelain industry,” which the city of Hebron undisputedly monopolizes. It is a state of constant meditation and immersion that will never leave me, and we do not forget what Dweik summoned from the Hebron market and the oak that became a historical tourist site, and we also do not forget to refer to the Al-Maskoubiya Church in Hebron, that is, the Orthodox Church. Among the things that the ordinary reader does not know is that the people of Hebron were among the Among them are the Christian residents of Khalayleh, who pray in the Al-Maskobiya Church, and that they all deported to Jerusalem, perhaps during the era of Salah al-Din al-Ayyubi, who brought to Jerusalem Christians from the east of the Jordan River, and the records of Jerusalem in the early Ottoman era “Christians from al-Khalayleh” were mentioned in one of the neighborhoods of Jerusalem and I looked on her.
Abu al-Sha’ar concluded that what stopped her in Yasser Dweik’s memory was a lot, and all of them are humanitarian and influential positions, and among these situations, as Abu al-Sha’ar indicated, is “the father’s image and it is equivalent to Hebron and Jerusalem, and its relationship to the place, Hebron, Jerusalem, Amman, Baghdad, it is related to the place and is linked With love, his relationship with his teachers, and his extreme respect for those who were students at their hands, his nobility towards his profession as a teacher, teaching for him is not a job but a sacred task. The patriotism that spilled over the places that dominated in almost all of his paintings.
For his part, the artist, Dr. Yasser Dweik, presented a creative certificate about the book, indicating that the book’s title, “Whenever the colors dried up,” is an expression of the nature of the practical trend in the art of drawing, painting and graphics, as oil painting needs sufficient time to dry, as well as graphic art that depends on Use multiple color layers.
Dweik continued the nature of my career, in various fields, such as educational guidance, and university teaching takes a long time, which keeps me away from artistic work, so the colors dry up before the picture is complete, which makes it necessary for me to repeat or complete.
Dweik pointed out that his book highlights stolen moments, “I was stealing them from the context of my professional and social life to be alone with my paintings, and it also embodies the journey of art between two worlds, the Arab and the Western, and what this journey includes of civilized, artistic and intellectual paradoxes.”
Dweik says: “Jerusalem is a very important stage in the education of aesthetic and spiritual culture, and it enhances the intellectual prestige and artistic values, which made me allocate the largest space for it,” stressing that this book is not a biography of him, but rather a vision of a civilized reality on the one hand, and the transformations of art taking place in Jerusalem. Arab and international level.
As for Oman, Dweik said about it, “historically occupies a great position, in which the artistic educational aspects were strengthened and in which I began to cultivate artistic buds, which later became a title for the artistic movement and in which my artistic experience began to emerge and mature,” pointing out that the book is a true account of facts, facts and people who lived among us, some of whom Still soul and thought and the other soul, thought and body.
The artist, Yasser Dweik, is one of the most prominent plastic artists in Jordan, and one of the contributors to the dissemination and establishment of plastic and graphic art in Jordan. 1978, and his experience varied in drawing and painting, engraving and printing, pottery, and enamel work.
Dweik has held more than 15 solo exhibitions and participated in many international exhibitions. He is a professor of graphics at the College of Art and Design at the University of Jordan, a member of the Jordanian Plastic Artists Association, a member of the Emirates Society for Fine Arts, and a member of the General Secretariat of the Arab Plastic Union.