The surface of paper is influenced by many elements — light, water, and air. This year, I felt affected by them all — and, in fact, I wanted to embrace them all within my works, attempting to connect these natural elements with the inputs of each painting, as a personal challenge to use every tool without exception. The subject doesn’t come first, nor is the idea imposed beforehand. It forms gradually through the artist’s journey and long process of creation, until all these elements mature within him. Just as there is a right moment to stop working on the surface of the paper or canvas, there is also a right moment to release the idea — to present it, to raise questions, and to open paths for contemplation. Why? Because within my mind this year, a strange light ignited — creating a delightful sense of confusion. At times, I played with the brush and water, shaping worlds I had long imagined. I observed light and its influence throughout the year — on the leaves, the surface of the sea, the sky at different hours… and even on the faces of friends. At night, I allowed things to be wrapped in mystery, letting colors interact with the open air, leaving many questions within me. The colors produced fascinating effects that I discovered each morning. Yet I also wanted to mix sand with water. I used charcoal carefully, avoiding full fusion — perhaps because I didn’t want to disturb their clarity, or maybe to preserve that contrast between two rich, independent materials. It wasn’t planned; the elements imposed themselves on the paper’s surface as if they had their own will. The light of morning and the stillness of night became familiar characters in my world. I observed them closely, and they continue to captivate me each time they reappear in my work. So, I decided to hold a celebration —inviting all those elements that accompanied me this year. I made hats for them, fitting for the generous daylight I love to see every morning, and at night, I created faces and masks that matched those morning hats and their vivid colors. Some fear masks because they hide the truth. But that isn’t always true — masks were created so that we can add beauty of our own making. This year was a blend of techniques and visions, born from the womb of many ideas that converged in my mind. I wanted to present them all — to share the deep joy I felt while working with acrylic, charcoal, and cotton paper. It was my attempt to recreate beings and worlds that remain alive within me, and that I don’t think will ever leave. “Color possessed me; I no longer pursue it — it now possesses me forever… especially black, which absorbs everything and gives everything depth”
About the Artist
Hicham has spent 17 years working in both the advertising and media industries in Egypt after earning his degree in animation from the Higher Institute of Cinema in Cairo in 2005.
His father, Mostafa Rahma, is a plastic artist and children’s painter, growing up in an artistic home had a great effect on Hicham since he was raised on his father’s artwork in the popular magazine Majid, so he made images for children. It was the counsel he received from many of the instructors he encountered as he was growing up, starting with his father and continuing through the artist Ihab Shaker. Samir Fouad, an artist, and Mohie El-Labbad.
He created illustrations for the Saudi Arabian and UAE-based Magazines Majid and several books published by Egyptian and Lebanese publishing houses that have been nominated for awards in Bologna, Frankfurt, and the UAE. His art has remained the desired outcome despite the many jobs and experiences he has had. Presently,
He works in the advertising and branding industry as a designer and painter.