Hamid Nicola Katrib highlights the revaluation of some concepts which have been already firmly expressed in his previous creations, and marks their evolution in a new design. The scenographic intuition of the interior designer is still organizing the plastic universe by the scrupulousness of the compositions and by each detail that is bringing a symbolically significant contribution to the whole message. The result is a surreal universe whose quality derives not from transgression of the kingdoms or from oneiric visions, but from the surreal assembly of props inspired by reality and treated in an almost photographic naturalism.
The fascination that stirred Hamid as a teenager to discover the valuable details of Flemish still life of the 17th Century is still present in his visual narratives. But the approach of the space changed dramatically compared to his previous creations, where the wood and marble bases were meant to emphasize a singular viewpoint to understand the artwork: the front, static angle. Introducing the suggestion of a three-dimensional movement, the artist invites us to mentally recreate some symbolistic paths that testify a transcendental approach. Even the scaffolding skillfully balanced by glasses and playing cards, which is apparently maintained in a minimum depth plan, now gains depth thanks to sideways positioning of details. The transfer of the symbols from the abstract space of the canvas to the real space of the material existence, called The Symphonies, marks the inauguration of a new medium of artistic expression for Hamid, which is the installation and appears as a natural evolution and a promise of future experiments.
The artist’s vision is also felt in the chromatic concept of the artworks. From the universe of monochrome touches with small accents of color, meant to polarize attention and awake various states of mind of the beholder, the present chromatic approach designates delicate harmonies of warm, pastel colors, as a more optimistic view over transcendence. Their ethereal transparency is the result of a recent interest of HNK for the expressive possibilities of watercolor. This difficult technique, slightly common among contemporary artists, HNK chooses to explore its other facets than the traditional spontaneity. The result is a fragile and transparent atmosphere, dominated by the gloss of the glass, all so easily noticeable in his newest artworks.
The various shapes of glass – which also show the collector side of the artist – are a perfect medium to create a dialectic of permission and prohibition states, and of closed and open space. The glass arranges the interior space of the paintings, then moves to the physic reality thanks to three art installations. If we separate the spiritual meaning of the compositions zones, the glass is the material that helps creating the perfectly designed utopic mechanisms, then incorporates them to artist’s interest for the alchemy of the soul and the potential of the transcendence.