حجر الوعي

يرمز عمل “حجر الوعي” لكارين فان أومرين إلى الأبدية من خلال تصميمه الذي ليس له بداية ولا نهاية. تدرس كارين تصورنا للفضاء وما يمكننا فهمه من خلال المساحات الديناميكية الموجودة في عملها، وكيف يمكن لهذه المساحات أن تؤثر على وعينا.

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كارين فان أومرين درست فن النحت في أكاديمية الفنون الجميلة في بروكسل، حيث تركزت أعمالها النحت على الحجر.  و في عام ١٩٩٣م حققت كارين المركز الأول في المسابقة العالمية للنحت على الحجر في تايوان ، حيث ابتكرت عملاً جديدًا لمتحف تايبيه للفنون الجميلة و من عام ١٩٩٩م حتى هذا العام شاركت كارين بشكل منتظم في بينالي تويامورا للنحت في اليابان.
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الحركة والفضاء

يربط عمل “الحركة والفضاء” للنحات كامين تانيف الحركة والطاقة معاً، في تصوير ابداعي حديث يحول المادة الصلبة كالرخام إلى مادة ديناميكية تمثل الحركة في شكلها.

يرى كامين أن فن النحت هو عملية تكوينية تتطلب الهندسة والفيزياء والبيولوجيا والتطبيقات الدقيقة الأخرى لإنشاء منحوتة ثلاثية الأبعاد، و في نفس الوقت تكون عملية تعبيرية تمكن النحاتين من مشاركة مشاعرهم وانطباعاتهم مع الجمهور.

وفي عصرنا الحالي الديناميكي والمليء بالمعلومات، اختار الفنان التعبير المختصر كأفضل طريقة للتعبير الفني، وعمل على نحت أجزاء مختلفة من الرخام لتحقيق فكرة الحيوية والتأثير الفوري على المشاهد.

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المنارة الثلاثية

عمل آنا كورفر “المنارة الثلاثية” هو تصوير يدمج ما بين عناصر العمارة واللباس التقليدي للمرأة السعودية، في رحلة تستكشف العلاقة التي تربط الأشخاص بالمكان، وكيفية اندماجها في تصوير الذات. يعبر العمل عن المنظور الأنثوي، ويظهر الجمال الفريد وقوة هذا المنظور من خلال الأشكال المجردة وترمز “المنارة الثلاثية” للأمن والأمان وأهمية الشعور بالإنتماء للوطن.

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فيما بين

من خلال اللغة النحتية يمثل عمل “فيما بين” للنحات كارلوس مونج، الرؤية الحسية بين المادة والفراغ حيث يساند كل منهما الآخر لإنشاء زاوية تجمع بين المفهومين. تُنحت هذه القطعة الرخامية مجسدةً المكان المحيط بها، ومطورة للقدرة الحركية، ممثلة الوضوح للضوء والظل. يمثل العمل مساحة يمكن للناس اللجوء إليها لمعاينة البيئة المحيطة والخارجية ليكونون بعد ذلك “فيما بين” البيئتين.

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تحرير العواطف – المخلدة واللانهائية

منحوتة “تحرير العواطف” – المخلدة واللانهائية – للفنانة آنا ماريا نيقارا مبنية على العالم الغامض للأسطورة الشهيرة “المتاهة”، و تصفه بأنه عالم لم يُكتشف بعد، عالم يجمع بين كل من اليقين والريبة في الوقت ذاته، يحكي قصة الصراع لتحقيق التوازن بين الانسجام والفوضى. تجسدت أسطورة “المتاهة” في منحوتتها “تحرير العواطف” المخلدة واللانهائية إلى خط الكتابة الكوفي.

يشكل هذا النوع من التعبيرات النحتية وأسطورة “المتاهة” جزءًا من رسالة الدكتوراة لآنا، مما وسع إدراكها الفني وأدى لإبداعها لمنحوتات جديدة بفهموم مختلف. ويجمع عمل آنا العديد من المواضيع الفنية والأدبية والعلوم الفلسفية الجميلة.

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مُشكاة

استوحى علي الجابري فكرة عمله “مُشكاة” من بحثه في التاريخ الثقافي الثري لسلطنة عمان، ويعتمد حسه الفني على اللغة والتقاليد والمعرفة المتوارثة عبر الأجيال، ويظهر ذلك في أعماله النحتية والتي تعبّرعن تقدم العلم وتوثق هذه تأثيراته، مع إبراز أهمية اللغة، باعتبارها حاملة لهذه المعرفة.

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الأصوات الكونية

ركزت آخر أبحاث ألكساندر إفتيموفسكي الفنية على الأصوات الموجودة في الطبيعة وكل ما هو حي على كوكبنا هذا، بحيث تضمن بحثه تسجيل حركة كائنات مختلفة والاستماع إلى أصواتها، وتحويلها لأعمال افنية من خلال إنشاء مجسم ثلاثي الأبعاد باستخدام الذبذبات الصادرة من هذه الكائنات. ما يميز هذه الأصوات التي يستخدمها هو أن لها طابع معين ومستوى تردد مختلف، ويأتي عمله “الأصوات الكونية” ممثلاً هذه الأصوات والتسجيلات التي تم إنشاؤها خارج الغلاف الجوي للأرض كأصوات المجرات والنجوم والكواكب وغيرها من الأصوات الكونية.

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المثابرة في الزمن

رحلات الفنان داميان كوميل الواسعة تعد من أهم مصادر إلهامه، حيث أن الهندسة المعمارية والعادات، والثقافات الموجودة في الأماكن التي زارها أدت الى إعجابه بالمنحوتات والمباني الملتوية والمتداخلة بعناصرها. منحوتة “المثابرة في الزمن” لداميان تستوحي الأشكال المتداخلة القديمة للمملكة العربية السعودية، بحيت تصور منحوتته رجلاً يسعى بلا كلل ولا ملل للبحث عن المعرفة وانتهاز الفرص التي تساعد على نموه الشخصي. “المثابرة في الزمن” هي جزء من سلسلة أعمال تسمى “بذور النور”، وترمزالبذور للوقت، بحيث تسافر عبر الزمان والمكان لتسقط في المكان المناسب في الوقت المناسب، وقد رمز الفنان لشكل بذور القيقب كرمز لأحلامنا وأمنياتنا، التي تحركها الرياح، لتطير بعيدًا وتنبت في أرضًا خصبة لتزدهر للأبد، ترمز كذلك إلى التقدم والنمو والازدهار والحكمة.

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أم الزمان

تكمن اهتمامات فرناندو بينتو في أوجه التشابه بين مفهومه للأسلاف والأجداد والعادات المتوارثة القديمة وبين الاكتشافات العلمية المتقدمة. “أم الزمان” هي قطعة مستوحاة من مفهوم السكان الأصليين في كولومبيا والمسمى بـ”كوغي”، حيث يتم تشكيل أحجار صغيرة جدًا والتي يعتقد بأنها من صُنع الأسلاف البعيدين. يعتبرفرناندوهذه الإبداعات ضمن عالم لانهاية له، وتعكس أعماله النحتية اهتماماته في أوجه التشابه التي يمكن العثورعليها بين المفاهيم القديمة والإكتشافات العلمية الأكثر تقدماً.

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الفضاء (جزءٌ من شيءٍ أكبر)

منحوتة “الفضاء (جزءٌ من شيءٍ أكبر)” هي عمل فردي للفنان جورجي مينتشيف وهي جزء من سلسلة من الأعمال الضخمة المصنوعة من الحجر والفولاذ المقاوم للصدأ ويهتم جورجي بشكل خاص بالصفات المحددة التي تميز المواد المستخدمة، وكذلك بالبحث عن لغة عالمية للتعبير.

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الجاذبية

عمل “الجاذبية” للفنانة ايزابيل لانقتري يمكن اعتباره بأنه لغز للمشاهد، وذلك لعمق الأشكال الهندسية المتداخلة فيه، حيث أنها تشكل عناصر جاذبه للشمس، مما يخلق العديد من الظلال المختلفة والتي تعتمد على ظروف الإضاءة المحيطة بها وموقع الشمس في السماء.

يرمز عمل “الجاذبية” للفضاء بسماته المظلمة ونجومه الساطعة التي يتأملها سكان الكرة الأرضية، حيث يحفز الفضاء الخيال البشري الذي يربطنا جميعًا عبر المكان والزمان. تعد الجاذبية قوة غامضة تربط جميع المجرات ببعضها، وتؤثر على العناصر المحيطة، بما في ذلك نحن البشر.

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تحول الفضاء

يستكشف عمل “تحول الفضاء” للنحات جون غوغابيرشفيلي التحول الجمالي للشكل، ويقدم ديناميكية شاعرية تساهم بإنتشار الضوء ليسقط على زوايا المنحوتة ويجعلها أكثر جمالاً، لتغمر المشاهد في بيئة شاعرية.

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المراسل الكوني

“المراسل الكوني” عمل فردي عاطفي للفنان جو كلي مُصمم من أشكال وأسطح حجرية، و بالرغم من أن النحات يعترف باستحالة وصف المشاعر التي قد يشعر بها الجمهور عند رؤية المنحوتة إلا أنه يشعر بأن النحات الجيد يستطيع من خلال لغته النحتية الوصول لمشاعر الفرد من خلال تصوير الشعر والنثر دون استخدام لغة منطوقة؛ وبالنسبة له فإن المشاعر التي تصلنا من رؤية المنحوتات هي مفردات بدون كلمات وكيان ومادة وفكرة، إنها طاقة نشعر بها جميعنا.

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اللامرئي

اللامرئية، والغموض، والفاصل بين الخيال والواقع جميعها جوانب يستكشفها الفنان كيم دي رويشر في أعماله بشكل متكرر. يستعمل كيم الأسطح التي تعزز رغبة المشاهد في تفكيكها لإكتشاف القطعة الحجرية أمامه ومن خلالها إيجاد أفكار جديدة واسترجاع الذكريات الجميلة. في هذه الفكرة يرى الفنان أنه يحقق توازنًا بين الحياة والوقت، و بالنسبة له فإنه يحقق ما يجهله عن المستقبل، كما أن خوض تجربة جديدة لإنشاء عمل فني في المملكة العربية السعودية هو رابط قوي ومصدر إلهام لعمله “اللامرئي”.

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خطوط الصحراء

يستمد الفنان حيدر علوي العلوي إلهامه من القوى الموجودة في الطبيعة، ليحولها إلى أعمال فنية ملموسة، حيث تمثل منحوتته ” خطوط الصحراء” المستوحاة من ملاحظاته حول تأثير الرياح على رمال الصحراء وأمواج البحر على المياه ورسومات الطبيعة وخطوطها الممتدة داخل العناصر الطبيعية.

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