“In terms of figurative painting today, there are few artists that can compare to Hamid’s versatility, craftsmanship, and particular insight. It is for this reason, among others, that we think Hamid is an artist to watch in the future. Whether it is a simple movement of paint, an eye, a hand, or rubbed out object, even a mouth parted open in a certain way - almost everything has its place and is intended.”
According to Hamid, these comparisons are not something to shy away from, but as in science, they are something to build on or expand, however subtly. Where he moves away from this tradition in figurative painting is his particular focus. Rather than an insistence on the corporeal, Hamid seeks out something more spiritual in regards to the human presence. He endeavors to create what he calls a ‘psychic portrait’ of things and people that might at first glance have none. And this is central to his challenge – often focusing on a mundane scenario with the intention of pulling from it a deeper meaning – something perhaps strange, but nonetheless hopeful and expansive.
We think it might be best to think of Hamid’s paintings as a type of small orchestra, if you will. Each instrument plays its unique part while contributing to an overall whole. Admittedly striking in subject matter at times, the viewer might make a mistake in assuming that his paintings trade in the unseemly. Here is a painter who tries to celebrate life, even in its lowest form. As Hamid himself has said, “You make a mistake if you think my paintings are pornographic…(the paintings) want to do away with the whole concept of pornography…unless, of course, you’re speaking about an eye.”
At each showing, his work continues to garnish serious attention and high praise. In terms of figurative painting today, there are few artists that can compare to Hamid’s versatility, craftsmanship, and particular insight. It is for this reason, among others, that we think Hamid is an artist to watch in the future. Whether it is a simple movement of paint, an eye, a hand, or rubbed out object, even a mouth parted open in a certain way - almost everything has its place and is intended. More so, everything makes its mark of importance. When looking at his paintings, it is best to think about an orchestra. Each instrument plays its part in the whole. In Hamid’s work, each facet plays a part in the overall whole. To look at his paintings is not enough it seems. To look closer is everything.
“As much as I want my work to study the central issue of the objectification of the female form, I also wish for it to have a broader intention. I wish for it to reveal a psychic condition not readily available to the conditioned eye.”
Artist Statement from KARIM HAMID
Media superficiality and the human condition became increasingly important areas of focus in my work starting back in 1995. I am most interested in the process by which the female figure is objectified by the stereotypical male gaze. There is no shortage of imagery in our popular culture to satisfy this end. Art history is also a rich source in which to cull a broad sense in the singular pursuit of the idealized female form. The goal in my paintings and photo collage is to exaggerate and distort that emphasis, to give it an alternative life and function. Further, as much as I want my work to study the central issue of the objectification of the female form, I also wish for it to have a broader intention. I wish for it to reveal a psychic condition not readily available to the conditioned eye. Finally, while the imagery is often distorted in my work, I also expect my work to express itself within its own polemical and painterly distortion of that distortion. A small world whereby a new sense is made from the senseless.