Joseph El Duwairy
Those born in the 1970s are considered a pivotal generation that represents a hinged link between two important stages in the history of modern and contemporary Egyptian art and the bridge of communication between them. This generation has been contemporaneous with great artists from the renovators, those who influenced the fine art movement, who were ostensibly associated with the attitudes of European Renaissance artists and committed intrinsically to being connected to their society and identity as communicators of their causes.
The dominant feature of the first generation and its pioneers was the emulation. In the 1970s, the celebration of abstract styles was dominant and they were competing with the younger generation of artists who were attracted by the desire for renewal -even if the strangeness feature prevails – on their works so they gave up the most solid artistic features, which is survival.
The artist “Joseph El Duwairy” is one of the sons of the middle generation as he was born in 1977, and he graduated from the Faculty of Art Education at the dawn of the new millennium.
If we wanted to monitor his career and the development of his artistic style and stages in a brief sentence, he is the perseverant artist in expressing himself and confirming the Egyptian identity by showing the philosophy of the deep interdependence between man and the place through daily habits, traditions and practices, and recording events from Egyptian reality with all its simplicity and spontaneity.
He has participated in several group exhibitions, artistic events, and international biennials, including his participation with the Egyptian delegation to the Beijing Biennial 2017, he also held individual exhibitions through which he distinguished his style blended between the constants of abstract doctrine and the variables of the contemporary culture of renewal and the beloved development within the context of artistic logic and inspired by many of the arts of previous civilizations since his first private exhibition entitled “Islamiyyat” 1998. He went through several stages of development, leading to the Achilles exhibition in 2017, which was biased towards the Woman and expressed all her emotions and moods, as he portrayed her in a state of waiting and expectation. This mood prevailed over most of his work at that stage, and the “Fog” exhibition in 2018.
This year he held the “Cairo” exhibition which included fifty-five paintings in which he dealt with the details of Cairo, a City which never sleeps, with all its intimacy and simplicity, including the harmonious noise. He also observed the space between that crowd and popularity in an aesthetic feeling and he shed light on psychological aspects that came as a collective characteristic of society like a state of solidarity and clear contiguity between humans and even their relationship with the rest of the creatures including animals and buildings, he forced the stone to speak and be a witness to that.
In the “Barber” painting, we find in its details a leak of the state of satisfaction and constancy towards what is going on around him, and the state of congestion as shown in the “ street” painting, and he also observed the state of warmth and relaxation in his painting about the “Egyptian House”.
In the beginning, it was nostalgia, this is the state that is at the top of the dramatic scene in the paintings of “El-Dewery”. Drama in the fine art works is not related to the meaning of sorrows, but it represents the sensual richness, irritable strength, emotional development, and the power of possessing the tools of the visual expression in formation, font, color, and balance, and they come as a product of him being affected by all those places he’s been through and lived in, so he shared his memories of it in a dramatic expression and sometimes in a sarcastic way, he soon brings back to mind the problem of Egyptian identity and shows all the repercussions of emotional nostalgia through visual cadres.
He has a calculated blend between geometric and organic, the geometric backgrounds in some of his works interact with characterization in a harmonic state that is separated only by the occasional interactive abstract color performances and by affecting the thickness, texture, and brushstrokes at other times in a spontaneous reaction to observe and express of this treasure of emotions and relationships that he reflects it covered by the revealing expressionistic cellophane which is not mistaken by the eye.
He conducted many painting seminars and workshops and was honored for his overall work, and he has holdings in several museums in Egypt.
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