Osama Kamal visits an exhibition that might have lost its way were it not for some powerful images by female artists Ever since the first primitive rock paintings several millennia ago, artists have been portraying the human body. Over time, naturally, styles have changed. In the modern era Alberto Giacometti (1901 -- 1966) infused the human body with symbols of maternity and joy. Henry Moore (1898 -- 1986) brought abstract sensuality to the human form. In "Variations on the Figure", an exhibition held recently (26 October -- 18 November) at the Arts Palace of the Cairo Opera House, local artists offered a wide range of interpretations of the human figure, sometimes very wide indeed. In sculptures, paintings, photography and wood engravings, a feast of expressionist abstract, and realistic art was in store for viewers. The only problem was that sometimes it was not clear what the message was all about. Two pieces by Salah Anani ventured into conviviality with an irreverent tone and untamed expressiveness. The first showed a government employee seated beneath an image of the eagle stamp, the epitome of government bureaucracy, and staring at a typewriter and a heap of official files. The second featured a boy balancing a tray of bread on his head with one hand and steering his bicycle with the other. "Man, Woman and Fish" and "Adam, Eve and Children" by Ahmad Morsi were enchanting in their mythological charm. Ahmad Nawwar, Mostafa El-Razzaz, Mohamed Abla and Gamil Shafik all offered variations on something, but not particularly the human figure. Sabri Mansour, who entered two paintings in the exhibition, both showing female swimmers, told Al - Ahram Weekly what had happened. He was originally invited to produce work for an exhibition on "Figurativism", one that would focus mainly on the theme of the human body. When the exhibition changed its name to "Variations on Figurative Art", the focus was diluted. Some artists ventured into other topics not necessarily related to the human figure. As Mansour pointed out, figurative painting in Egypt, especially of nudes, had been on the wane as a result of the rising conservatism in society. In fact the exhibition still had its share of controversial subject matter, thanks to three paintings by Shaimaa Sobhi showing naked women walking out of the bodies of fully- veiled figures. Sobhi was not commenting on the religious connotations of the veil, and yet her paintings were considered too provocative by contemporary cultural standards. Helmi El-Toni exhibited one of his loveliest paintings ever, depicting a female nude in a glow of translucent light. We could see her figure from three sides -- front, side, and back -- and she seemed to be deep in communion with the sea while a hoopoe hovered above, a red fish in its beak. Interestingly, more women artists than men exhibited their work in e event, and the paintings by women tended to explore the mysteries of the human figure in rather daring ways. Iman Osama depicted the female body in her three paintings with a refreshing reference to spiritual purity. Hala Amer's portrayal of a girl fantasising about marriage, all dressed up in an evening gown and waiting in anticipation for her escort, was powerful on so many levels. Sabah Naim's collage representing seven people seated on a bench was morosely profound. Amal Qanawi's painting of a winged creature offered an insight into human contradictions, while Rossana Corrado's metal wire sculpture of a naked female figure posed questions about the unknown. The pregnant woman touching her round stomach by Asmaa Nouri was almost otherworldly, while Naglaa Samir with her skilful use of light and shadow invoked a world that was full of mystery and contradictions. Samir Fouad's painting of a naked child brought to mind the primordial fears of the human race, whil Ahmed Atef rediscovered the irony of time in his depiction of sex symbol Hind Rustom and a fully-veiled female figure. Mohamed El-Tarawi's skilful use of colour transcended form and just vaguely hinted at the human form. Figuratively, the way the human body has been portrayed may have swung full circle.
