p
centimetre bronze cubes, again with curved edges. These are repeated and stacked one upon another in a tower of eleven pieces, an articulation in vertical form. The final element is a series of thin rectangular plates – compressed cubes – with slight and subtle convex/concave protrusions creating spatial curves. Together, this grouping shows the various potential elements of the cube, with their different orientations, pressures, extensions and radiating tensions. The softened edges and curved cubic forms of this current work are gentler and more poetic than his previous more geometric work.
Using cube-like geometric volumes allows Kamel to concentrate on the articulation of simplified forms. Cubic forms establish mass and volume in compositions. He organizes the cubic volumes on the horizontal and vertical axes, and sometimes at angles with these axes, integrating volumes using an interlocking and overlapping treatment. Through the various positioning possibilities, the expansion and contraction of volumes and energies creates movement and counter- movement in Kamel’s work.
Kamel’s many achievements in his young career point to great success for him in the future.
PAGE 7 • SUMMER 2010
Right: Aswan, 2009 Bottom:
Liberation, 2010
Patricia Ainslie Cairo, January, 2010
Patricia Ainslie moved to Kelowna, BC in 2006 after a 25-year career at Glenbow Museum in Calgary, Alberta, Canada. She is Chief Curator Emerita of Glenbow Museum and now works as an independent curator and writer.
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