The Egyptian artist, born in 1979 declares: “Among the mixture of thoughts I find myself interested in the moving forces and there effects. The wind’s impacting all what it faces, changing it physical appearance, leaded me to think and start the experiment of how such movement influences my sculpting. These effects begin to appear at the start of each sculpture only to find the piece in a contradictory state with the winds either it suddenly stops impressed by it, or taking it’s a prisoner to its motion no matter how strong or big it is. The statue’s stability on certain points ensuring its ability to fly and moving in a symmetrical way. Confirming the conflicting state with such invisible force using the nature. Not to mention that human showing a mixture of emotions in addition to their mental state throughout the portrait, or using the strength of the bird facing the winds and it ability to impact it in spite of the birds ability to face the force, or using the abstract compositions using different materials such as Bronze, Marble & Granit to add an extra effect on the statue’s visual”.
Tamer Ragab’s research confronts us with the question of what sculpture really is, an open debate that leads to systematic reflections. According to the still current and enlightening study conducted by Gotthold Ephraim Lessing, in 1766, sculpture is an art that has to do with the deployment of bodies in space. The philosopher conducts an analysis that shifts the attention from the real model to an introspective work in which the main actors are the artist and the spectator. The artist no longer reproduces a model but reflects and recreates, in a newfound freedom that influences the very concept of Beauty.
Tamer, a contemporary sculptor, in the wake of a renewed freedom, gives fulfilment and therefore form to the conflictual state manifested between his subjects (human faces, birds in contemplation) and an invisible force. In the entire work, the investigation of how an inner state conditions the expressions of the human face remains stable and unchanged. The viewer finds himself in contemplation, in front of his stylized human faces in bronze, often patinated. In spite of the weight, the dimensions and the materials used, the sense of lightness is striking and bewitching.
(Rossella Savarese)