Abdulqader Al Rais

He is most noted for abstract works that incorporate geometric forms and Arabic script. The use of floating squares across the canvas has become a signature feature in his artworks.

He continued for the next several years to concentrate on local sceneries that became his trademark. Then, at the crucial juncture of his career, when he was moving beyond the traditional subjects in watercolor so indelibly associated with his name, AbdulQader stepped outside himself and began to address issues of artistic authorship and individual style with acuity and critical distance.

Motifs of geometric ops producing multiple illusions of depth were initially added on to the subject. With this series, AbdulQader succeeded in making the geometric forms surrounding the subject matter equally important as the subject matter itself. Moving further, changes in paint handling and stylistic staccato make for extreme variations among his realistic paintings resulting into calligraphic abstract juxtaposed with geometric ops and realistic images in vibrant new canvasses.

The merging of style is his language of pure individual self-expression – and that style is not inextricably bound to a single, authorial hand, but rather separate, mobile, detachable, and potentially re-inhabitable – AbdulQader AlRais’ signature style. In 2015, his artwork was used to decorate carriages of the Dubai Metro, as part of the Dubai Arts Season.

During 2016, Al Rais art pieces were included in a group exhibition in Berlin, entitled Art Nomads - Made in the Emirates which represented contemporary Emirati art and culture.

Hurufiyyat

AbdulQader AlRais chose the representative realistic art as art made by imagination. His artistic reality 'is all from the imagination', so he chose to develop the imagination, looking forward to the opening of creativity, the maker of beauty in the meaning and building of light and colour. He is very confident and fully convinced that "whoever does not have imagination has nothing".

AlRais found in colours and inks the freedom to form his perspective and his visionary reality in light. In this ne imagination, Al Rais finds the contents of the images and the letters of light of light that diverges on new form of colour. These emerge as strange and amazing images that bring joy.

He moved from the pain of doubt and uncertainty as his eye caught the light. It even awakens in the lovers in the beast: the heart, conscience and the passion of the soul. These are the dreams trough which he pours on his canvas the questionings of his inks and their colours and shapes, the designs of his lines and the beauty of his letters. This is the beauty of the Creator in his separate creatures.

AlRais no longer paints like a learner but is guided by his masterpiece from the structure of purity to the worship of art, to the extent of praise and contrasting images, those that show what they hide and hide what they show.