A Sociology Personified

By the Hand

Through the vacuous tares and holes, past the glitter of gold and feather, colour, texture and grain we are drawn deep within the realms of another humans beings most private, and inner sanctum ``absorbed´´ but still, and without restriction or bonds, we are free to roam, to wonder these endless, imaginary corridors and rooms that are both open, and on plane view to the fullest scrutiny. To open the many draws, cupboards and closets and to either freely address or quietly reflect upon the many parts that hold similarities in relation to that of our own unique psyches, and awareness about our selves or those more ‘ ‘not’ so perfect flaws’ that we are so reluctant to admit even to our selves, those places in us where, and by choice we so refuse to go.

‘………exile is an ever-lasting search
for an identity’.

An intriguing question I felt when I read it. One that Amir Khatib, the father and creator of these works had put forward in his invitation flyer when he first presented his ‘The Three Trinities’ exhibition at his base the ‘Galleria EU-MAN’ in Helsinki, Finland (October 18th 2002:) A question that, and upon viewing his works, appears the stable point in what Khatib was addressing both as an explanation as well as a thought provoking invitation to be mulled over.
But that the term ‘exile’ itself orchestrates an array of varying definitions both as what we, the individual person, perceives whether it be politically motivated or socially, as a whole or singularly. What perhaps stands out, and is most striking about the three bodies of trinity…
`Happiness´, `Unsettlement´, and `Waiting´, as well as with the two complementary independent forms of, `Absorbsion´ and `The Last Version´= (a singular piece at this stage) is that they set the wheels of the mind in motion as the exuberance of Khatib’s beliefs and idealisms, wishes and desires. Dreams and hopes perceptions and character are clear in evidence as they flow freely trough the material that is carefully needed through his work (via) his hands. As though his use of colour form, symbolism and shape, distortion, bend and curve are nothing more trimming, decoration, a formality for a Presentation for the viewer but that the passion is what consumes even that of the least discernable eye upon one entering the room as almost immediately one is confronted with a dilemma of at which group ‘exactly’ should one start? And as there appears to be no discernible beginning ‘nor’ end as though straight away one has, without realising, been enveloped by both the artist and his world.

Jer Halpin