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Academies van Florence en Perugia 1977-1981
The roots of Saad Ali are in the same place as that of the entire Western mankind in Mesopotamia . His native Iraq has within its borders the ruins of the oldest city in the world, Eridu . The vast grassy plains outside the mud walls were called in Sumerian ‘ E-din’ or ‘ Eden ‘, the name given to the paradise in the Bible .
Saad Ali likes to paint on weathered doors and panels and calls his works ” Doors of Hope. It seems no coincidence. After the exile of man blocked an angel with the flaming sword retreat. As long as the world lasts history, man will not go back through those gates on his steps, but the memory of paradise is lost when no man .
Saad Ali with his work expresses something that precedes any specific national or regional culture and religion. Paradise is like holding picture of all peoples. It is the human blueprint for happiness and is always associated with the hope of recovery of innocence and peace. The large oval eyes of the people on Saad Ali’s colorful panels express the very innocence innocence and good. Skepticism and irony lacking in facial expressions, which are of a decidedly persoonlijkheid. Zo this stripped get them something universal and they reflect something collective: the spirit of a people or feelings associated with being human no more.
Where love is practiced, watching from the frame of each work without shame or restraint bystanders. The paintings are clearly frame stories. In many small boxed regions within the image plane stories take place that may or may not connect to the main event. Characters are often shown by Saad Ali in contours and colors filled or saved on the ‘ doors’ . This creates works of art that are not conventional paintings, but rather painted things. As such they refer to as symbolic objects to paradise, but do not see that for yourself.
This aspect of Saad Ali’s work is consistent with one of the characteristics of the Arab painting, namely the strong connection thereof with the architecture.
The beautiful decorations in the palaces and mosques had primarily an allusive: the characters were, no images . The true Garden of Eden is not with Saad Ali therefore the panels but behind it. The performance only gives shape to a collective suspicion and is no picture or glimpse into the paradisiacal state, but a signpost .
Art collections as communication tool for socially sustainable vision and policy