An article by AM (674 Words, 4 Min. Read)
PAINTINGS by Frédéric Husseini / Poems by noël Fattal / Voice by Rita Hussini. Exhibition Opened June 20, at Rebirth Beirut.
Art Does Not Always Begin with Answell. Sometimes, It Starts with A Question, A Rhythm, Or a Silent Exchang. In Outlook / Look outThe New Exh force by Frédéric Hussini at Rebirth Beirut, The Experience Unfolds in Three Voices: The Painter, The Poet, and the Reader-Listner. Each Painting is paired with a qr code; Scan it, and a voice (Rita Hussini’s) Delivers a poem by noël fattal. These Poems Were Not Written for the Painments, and the PainTings Did Not Illustrate the Poems. Yet somehow, they Belong to make up.
What emails is not exploration or commentary, but a trick entity, language fet more than KNOWN. The Result is An Exh force that OpenS A Space.
The Architect Who Pains, The Painter Who Builds
Husseini’s Background As an ARCHITECT is PRESENT in The Bones of His Work: Strong Lines, Calculated Emptation, a Play of Form and VOID. But His Painer’s hand pushes past symmetry. There is a quiet Rebellion in these Canvases: Texture that Interrups Geometry, Transparency that Unsettts Solidity. His Paintings Oft Suggest Space (Rooms, Horizons, SEA Views), But they never Impose a Single Reading.
There is structure, but it is not rigid. There is abstraction, but it is not obsecure. What he offers is an arishcture of feeling. The Eye Wanders As if Through
Views from Above
One of the Most Striking Pieses in the Exh force, a Mixed-MEDIA Canvas that Many See As its emotional center, evokes an aerial view; A personight neter divine nor detached, but full of quiet obsefrity. The AcoCOCAPANING POEM by Fattal Begins:
“Like a Flight Ruleing to Sooothe The Dawn / The Forgotten Seas …
It is unanny How The Poem and the Painting Seem to Echo Each Other, Despite Being Created Separately. The Sea, here, becomes a metaphor for memory, for the unifathomable lays beneth Perception. Viewed from Above, The Sea Flattens, But its weight is fet all the night. The Painting Too, is full of this Tension Between Stillness and Depth.
Shifting Groud
Another Highlight, BanquiseIs Colder, More Fragile. The Painting, Like the Poem Beside It, Speaks of Surfaces Cracking, of Weight Building and Collapsing. Fattal’s Words: “Layers of the Past Pile Up then Fall Apart. ”
This is more than nostalgia. It’s geology. The past here is a hiffing terrain, unstable and rich with Silence. Hussini’s Work in Banquise Feels Especially Architecture: A Frozen Architecture of Time and Pressure.
Caves, skies, and the eye that Wanders
The Exhibition’s Title Invites Dual Reads. “Outlook ” Is a view, a personctive, Maybe Hopeful, Maybe Distant. “Look out ” Is a Warning, ALERT, A Tense. The Paintings and Poems Move Between Both POLES.
Some Works Feel Like Inner Caves; Dark, Enclosed, But Pieried by Slivers of Light. Others Open Into Wide Skies, where shapes drift and boundaries Blur. Across it all, there’s a constant sente of movement, not dramatic or theater, but internal.
You can feel the hand of the Architect here Too, Especially in the Clean Lines and Defined Edges. But they are softened by the PAINTER’s Instinct, by Mateials that Resist Control. Each Canvas Becomes a Threshold Between Order and Spontaneity, Between the Artist’s Intension and the Viewer’s Interpretation.
The Moment Before Meang
What makes Outlook / Look out So compelling is that it never settles. IT Resists The Pressi to Narraate or Define. Like Hussini’s Own Approach to Painting, this is a “Serious Game ”, An Open-Ended Encounter Between Mateial, Memory, and Meang.
And then there is the voice. Rita Hussini’s Reads Bring the Poems INTO The Space in a Way that Feels Intimate, Not Performative. They are not Explanations But Presenses. You liven. You look. You Imagine.
This is what Hussini Believes Art Should Be: A Dialogue with Direction, a Wandering Without Map. A free Space when
In Outlook / Look outNothing is also. Everything is becoming.
