Art, for him, is an intimate conversation with the self, and it couldn’t be any different for Mohamed Ibrahim – psychiatrist in his first life, painter and writer in his second. The existential subjects of his drawings and paintings are preserved behind metaphors and symbols; therefore his works can be “read”, similarly to literary texts, or even can be decoded. The self-awareness of the artist becomes world awareness in his images and the individual pain grows out into an expression of human suffering. “If you are able to look deep inside your self, you will recognize all humans in your self and your self in every single human”, he says.
Mohamed Ibrahim’s warmth has a catching quality, he is a bon vivant, but nothing he does is incidental. He is a talkative person and while talking, gesticulates with his fine hands. For 10 years the native Egyptian from Cairo has been living in Berlin and four years ago steered his life into an uncertain direction: He turned from Medicine to Art, initially as a therapy some might have thought, but he did it with the required seriousness and keenness and integrated the therapeutical origin meaningfully into his art theory. His start as an artist, he tells, would begin with a “water colour phase” – the difficult water color, that is not forgiving and forgetting nothing on paper – in which phase he had to learn to accept mistakes. At the moment he approaches the “oil color phase”, where layer is put upon layer, slowly building up the painting. Klimt, van Gogh and Matisse are his stylistic guides.
Mohamed is often focusing on the human spirt, which prepares the emotional background for everything. In one of his latest works “The sphere” (water color, 2015) three identical, inconsiderable purple spheres become the centre of attention for three couples of humans. Their concentration on the spheres looks like they are lost in thoughts, and in the same time seems far too fixated. The image is also divided into three spheres of backgrounds around the couples, every one of them dominated by a specific ornament. Apparently, it is always the same sphere, but depending on the background of beliefs, they are percieved differently, even if they can be seen as quite similar. The ornaments of the different world views are not excluding each other, in fact they mix and complement in many ways. That’s the positive turn of a Platon-like comparison.
“Dream, sweet baby, dream” is a coloured pencil drawing of 2014 and its whole impression and tender alignment seem very peaceful at first glance. Embedded into organic forms like into a big womb a mother is sleeping and smiling there with her child on her breast. On top of the heart of the mother, and not up in the the sky, the moon and stars lay like an additional protection. Other parts of the image do bear dangers, snakes, dragons, misfortune, but mother and child stay untouched by all of that, merely by the magical dictum “Dream, sweet baby, dream”. Like the canopy is to be found in the heart of the mother, so the dream is to be found in silence and remoteness. Nonetheless this dream needs to be carried back into day-life, or it stays meaningless.
Art should not be confused by technique, Mohamed believes, rather the artist is following his heart, passion and urge to express and may assume, very rarely, predictive Qualities.