The second solo exhibition by Sarkis Tossoonian, currently hosted by Safar Khan Gallery in Zamalek, proved to be once again a brilliant illustration of Tossoonian’s ability to merge the aloofness of metal work with human warmth.
Tossoonian has designated unconventional names to his pieces – whether the humorous or the poetic – such as “Jovially, “Young Peddler Boy, “Dignity, and the three-piece series “Opening of Knowledge. Each piece is a loaded statement carrying with it a critique or reflection of society.
Tossoonian’s work is formed from bronze metal, tall and slim figures that evoke the spirit of lithe nubile youths. His figures lack defined features be it details of the figure’s face or muscular definition of the body.
Tossoonian concentrates on the purity of the form of the human body, and the beauty of a focused, unbroken physical outline. Not all figures have arms to interrupt the sweep of one’s eyes along the curves of a female sculpture; we are asked as viewers to linger on every curve, to be awed by the rigid strength of the male form of the “Duke, to feel sympathy for the “Teenager under Stress who is shackled by a ribbon wound across her body.
“I don’t like precise detail, I like the impression only, Tossoonian says, “distortions in the physical form are not forced, yet I do not trouble myself with the precise anatomical detail. I focus on the impressionism of freeness, and the contrast between shiny and dark parts of a statue – the extreme differences between the two.
The type of bronze Tossoonian uses has been left green in parts and manipulated so as to give a gold-like shiny appearance to other parts. The result is a vibrant exclamation of contrasting emotions and contradicting visual sensations. The result is a credit to Tossoonian’s ability to understand how to create pieces with spirit and life. Had each figure been wholly polished to a shiny sheen, it would have been too contrived, too calculated; it would have been disastrously dead.
Each figure is a poetic statement unto itself. Figures are representatives of his reflections of society. “Young Peddler is a rendition of a peddler he once spotted on the beach, vending his wares with endearing enthusiasm. A quick sketch of the subject evolved into a statue of a young boy weighed down by his goods, alluding to the emotions evoked upon seeing such dedicated labor by young people.
Tossoonian’s compassion extends to both males and females. “One Winged Teenager captures with sympathetic wit men’s desire for independence in life: the young male is unable to fly to freedom due to his missing a wing. On the other hand, the beautiful female figure of “Under Stress Teenager is shackled around her feet with ribbon and is clothed in heavy drapery.
Both pieces – in an exhibition where art collides with theater – are statements of sheer poetry. The female subject is symbolically and literally heavy with the very burden of being a young woman in society.
“I see that teenagers, most notably females, are not free within our society to do as they please, Tossoonian said, “they are constrained by social expectations of etiquette. I try to express that sentiment in my sculptures.
Armless, with drapery skillfully worked by the artist, “Teenager under Stress seems to be an updated version of ancient Greek statue “Venus de Milo, a connection made between past and present. Yet perhaps it is most appropriate when considering Tossoonian’s early classical training in sculpture and the many influences associated with his upbringing and education in Alexandria.
Particularly impressed with the art of the Greco-Roman era, and having studied Pharoanic statues as part of his art education, Tossoonian’s work reveals versatility in his subjects and the influences which he seeks inspiration from. In doing so, he has worked with the coldest of mediums to express so much.
“Bride, a statute composed of torso, head and a large shiny skirt, highlights the charming excitement of a young bride who is slightly eager to start her new life. Tossoonian has sculpted her leaning forward with slight exaggeration as if to pinpoint that her ultimate life purpose is being a future mother and wife, and to glorify the inherent beauty of all brides.
“Opening of Knowledge is comprised of three female figures donning a cape. One encloses it tightly around herself; the second is slightly opening up her cape, and the third is removing the cape.
“‘Opening of Knowledge’ was a series highlighting the cultural exchange and distribution of knowledge by this woman who does so upon removing her cape and offering it to the world, says Tossoonian. The work was a series created for one of the many symposiums and exhibitions in which Tossoonian has participated during his prolific career thus far – spanning just under 30 years, starting from the date of his graduation from the University of Alexandria’s sculptural art school.
A large replica of the female figure opening up her cape was commissioned and recently erected in Cairo Airport’s new Terminal 3, granting departing travelers a beautiful adieu. Tossoonian will surely be regarded someday as Egypt’s sculptor laureate. His great passion for Egypt, for its people and history, shows an artist and a poet capturing the essence of Egyptians, past and present, in a dignified and glorious fashion.
