Mostafa Nafi
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Following are some points of the general concept of Nafi’s paintings:
Techniques used in Nafi’s paintings are as follow:
1 – Give the painting a dimension other than the familiar dimension in the classic painting (square – rectangle)
2 – Make the empty spaces in the painting concrete and part of its composition.
3 – Make the holder (chassi) an esthetic element that serves to capture some space in the pairings instead of keeping its role confined to carrying the canvas.
4 – Working with hard objects (wood), which helps create positive and negative spaces in the painting. This allows the possibility of drilling, scratching, touching and contouring (juxtaposition , superposition , engravings)
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1 – Work on cosmic space and the rotational motion, which is not finished and which creates an orderly system within an anarchiste system.
2 – Working on circular movements that reflect the movement of the universe and life in general
3 – Working on contrast in the empty and filled spaces, (antagonistic antagonism – antagonism integrated)
4 – Link the movement of the universe and life to human life through the embodiment of the circulation of the uterus, genital organs and sperm.
5 – cracking the tabs of some cultures and dealing with sexual elements in the expression of life
6 – the use of tools, materials and elements derived from ancient Moroccan traditional cra s and blend them with modern.
Moroccan writer and poète Driss Issa says about Nafi’s paintings:
Mustafa Na came out of the limits of the “painting” multiplied by a frame on canvas and wood, and he sided with experimental ways that came with qualities, identities and other labels, so that it is di cult to resolve in its description, and its a liation to drawing or sculpture. He sought out the framework and worked to break the frames, remove them, distort them, negate them, or multiply them (some of his works are framed in more than one open frame, apart from others).
9 – The frame is splintered, or a side of it falls, or it is not all open. The artwork opens up and goes out into its surroundings and does not remain separated from it by a frame that limits it. The tensions that fill the work of art call for the splitting of this same work and its fragmentation and division into asymmetrical parts. As the work is fragmented, the “vacuum” finds its natural place, and draws colors, shapes and materials as a new art plastic element.
10. The vacuum here is the “naughtiness” felt, where no color, no matter, no trace falls into the space occupied by the void. It appears in the works of Mustafa Nafi as if there is no form or color. It appears that the material recedes space for emptiness, however it is that vacuum that takes shape and is represented in various forms as if it were another aspect of the material itself, a manifestation of the possible manifestations of the material. The vacuum here is neither emptiness nor “non-existence” ; It is the substance that has been extinguished and stripped of its weight and shadows to represent one of its first images, which existed before, when it was “nothing”, and had no other name but anticipation on the edge of light and start. The vacuum of artistic work is nothing more than a response to the tensions of work, its fragmentation and its disintegration.
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