St. Friday of the Sea. 2023
Imitation and Refraction,
St. Friday was the prime philosopher that the artist knew, who’s wisdom and knowledge were timely revealed to the artist as he grew up. He spent most of the months out at sea; labouring, thus the early memories of St. Friday were vague and filled with mythical impressions. If one would asked “what does it mean to become or (re)becoming human”, I would say, the constant adoration and endless ode to St. Friday of the Sea, for he has nurtured and taught me to walk on land, dive deep into the sea and ponder at the sky.
O Father, Father,
for now I have known not what was unknown
And through you, you have shown
That the image is not of our own
Imitation and Refraction,
St. Friday was the prime philosopher that the artist knew, who’s wisdom and knowledge were timely revealed to the artist as he grew up. He spent most of the months out at sea; labouring, thus the early memories of St. Friday were vague and filled with mythical impressions. If one would asked “what does it mean to become or (re)becoming human”, I would say, the constant adoration and endless ode to St. Friday of the Sea, for he has nurtured and taught me to walk on land, dive deep into the sea and ponder at the sky.
O Father, Father,
for now I have known not what was unknown
And through you, you have shown
That the image is not of our own
In Time We Are Nowhere But Here. 2023
In Time We Are Nowhere but Here (2023) is Nhawfal’s latest exploration on time, memories, and forms. Through construction, deconstruction and reconstruction of everyday forms and objects, Nhawfal looks for the fundamental elements that shape our sense of existence. The series comprises nine paintings, each inviting the audience into an internal dialogue encompassing metaphysical elevation, contemporary panopticism, the essence of repose, and the very nature of being.
Crafted like scenes of religious stories, Nhawfal sets us inside the dome or the obelisk he built, looking outward from an arch-shaped opening; before our eyes is a surrealistic world filled with
monolithic structures beyond the death of history and postmodernism. Monolithic structures have always been perceived as a symbol of power and solidification of one’s position—a state of total presence or even omnipresence. While the audience is set in eternal contemplation on the edifices of authority, it is also a contemplation of immortality—a reassurance of our existence, as eternally as
the structure itself. In the words of the artist, “We are not merely an ephemeral being on earth but an immortalised spectre with an unyielding future.” - https://www.ac43gallery.com/children-of-the-star
In Time We Are Nowhere but Here (2023) is Nhawfal’s latest exploration on time, memories, and forms. Through construction, deconstruction and reconstruction of everyday forms and objects, Nhawfal looks for the fundamental elements that shape our sense of existence. The series comprises nine paintings, each inviting the audience into an internal dialogue encompassing metaphysical elevation, contemporary panopticism, the essence of repose, and the very nature of being.
Crafted like scenes of religious stories, Nhawfal sets us inside the dome or the obelisk he built, looking outward from an arch-shaped opening; before our eyes is a surrealistic world filled with
monolithic structures beyond the death of history and postmodernism. Monolithic structures have always been perceived as a symbol of power and solidification of one’s position—a state of total presence or even omnipresence. While the audience is set in eternal contemplation on the edifices of authority, it is also a contemplation of immortality—a reassurance of our existence, as eternally as
the structure itself. In the words of the artist, “We are not merely an ephemeral being on earth but an immortalised spectre with an unyielding future.” - https://www.ac43gallery.com/children-of-the-star
As We Are Leaving: Into Metamodernism. 2019
inspired by the idea of the departure of forms (in relation to Plato's Theories of Forms), transcending from the physical realm of forms (it's shadows and representation) and into the Realms of Forms, a painfully idealistic dimension of what is abstract and meta-meta.
inspired by the idea of the departure of forms (in relation to Plato's Theories of Forms), transcending from the physical realm of forms (it's shadows and representation) and into the Realms of Forms, a painfully idealistic dimension of what is abstract and meta-meta.
As We Are Leaving: Into Metamodernism III (2019) Oil on Canvas 18cm x 23cm
As We Are Leaving: Into Metamodernism I (2019) Oil on Canvas 24cm x 16cm
As We Are Leaving: Into Metamodernism II (2019) Acrylic on Paper 11cm x 9cm
At least we still have time: Landscape of Punggol. 2018
before this place rises, i immortalised it
before this place rises, i immortalised it
After Caspar David Friedrich: A series of interpretation. 2018- Ongoing
studies of paintings by German Romantic painter, Caspar David Friedrich, substituting our symbolisms in accordance to our beliefs.
studies of paintings by German Romantic painter, Caspar David Friedrich, substituting our symbolisms in accordance to our beliefs.
After Caspar David Friedrich: Distant (2018) Oil on Canvas 21cm x 29.7cm
After Caspar David Friedrich: In a while (2018) Oil on Canvas 21cm x 29.7cm
An Exodus. 2018
a man's mental fray in realising his position among others, a man who is in a constant state of dreaming of something else
a man's mental fray in realising his position among others, a man who is in a constant state of dreaming of something else
Exodus: Day-dreaming. 2018 indian ink, watercolor, color pencil, charcoal and masking tape on paper [Sold]
Exodus: Of Something Else. 2018 indian ink, watercolor, color pencil, charcoal and masking tape on paper
