Every artist has their aesthetic statement addressed to their audience, and Amira Mannah’s statement lies under the umbrella of the color-coded aesthetic celebrations of this world, and crosses the borders of the repetitive art of the closed ateliers. She addresses a deeply subtle message resisting westernization through getting closer to the aesthetics of modern art alongside keeping a characteristic Arab flavor utilizing her ultimate sincere devotion in expressing her Arabist inclinations.
She is an artist with a discrete color vision in recapitulating and abstracting objects and landscapes. However, it is a forethought abstraction in which the relationships between masses and spaces are all identified. In addition, she is the quintessential Lady Themis when it comes to calculating and using the thickness of colors, and the effect of the brushes’ movements, dryness techniques, as well as softness. Thus, all of the above sheds the light on how she is a diligent artist with complete awareness of her responsibility towards any of her artwork throughout her entire career.
Mannah was born in 1968, studied at the Faculty of Fine Arts, and held many solo private exhibitions, such as those that were held at Gezira Art Center 2000/2003 and Saad Zaghloul Cultural Centre 2008/2013. She also took part in several group exhibitions, for instance, she participated in the Public Art Exhibition, the Youth Salon, and the Little Pieces Art Gallery. As for the international ones, she participated in Cairo Biennale 2003/2006, an exhibition in Casablanca, Morocco 2007, Arabian Anthologies in Jeddah 2011, Quds as the Capital of the Arab Culture in Qatar, and FIAC in Palestine 2012. Moreover, she won the Committee Award in the 11th Youth Salon 1999.
In her group of paintings entitled The Village, she portrayed those picturesque landscapes that one can see while traveling by a speedy train. Her brush strokes had an enormous effect on the gestures of the painting, as sometimes she used wide brushes for horizontal spaces and how her lines extend to the sky. In other times, her lines are limber where color grunts are almost felt and how they portray bobbed grass. You can also notice linear strokes that attract your sight towards the extended mass spaces.
Mannah also professionally makes horizontal and inclined strokes to guide you to what you want to see. In other words, she uses those strokes as instructions guiding you to her color world. In her masterpieces, the eye can identify the lightening atmosphere predominating the whole painting. For example, you can see how she portrays the sunlight embracing noir flowers in her painting Harvest Season. You can also witness the lightning that allows you to see night scenes predominated with blue, purple, and dark green and how they give you captivating emotional tenderness vibes. As an artist, Mannah managed to compromise between indiscriminate touches imposed by the discipline and emotional state through which she controlled the spontaneous emotional flow which helped her in pleasing our eyes with such blast touches. Besides, she managed to combine abstraction, which depends on action painting and keeping the scenic output of the visual memory of realistic scenes. Therefore, it richened the color expressive vibe of her paintings. This combination is hardly ever used in such a style; it is also rare to be expressed in such a professional way.
Finally, there are some clear leaps through her career from a year to another and from a gallery to another, so she is always in a dramatic mission which is to outdo herself in every phase, as she creates new leaps that literally jumps from the previous one, so that every project stands as an extended project.
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