Soraya Abu Naba’a
 
The figural abstraction expressed by Soraya Abu Naba'a is an aesthetic experience determined by a vision found in the last gestures of present time art. The artist paints and draws, and brings visibility to those elements which translate an internal life turned into shape and space, in her carefully assembled pieces, but what the art of Soraya Abu Naba'a makes us see, is a line of perception grounded in abstraction, because though the artist draws figurative models that express an academic tradition, she doesn’t cling strictly to realism, but she goes beyond any scheme in order to materialize and free her artistic world. The abstract in this artist is precisely what she reveals as a relevant aesthetic vision and a visible point of relationship in a space constructed by roots, footprints, concentrated lines of representation and pictorial tissue, defined in a late modern artistic direction. It is, then, in painting or drawing a body and a space which elements translate particular perceivable objects into time on the canvas. 

The artist relates her art to biography. From a very early age, she lets herself get carried away by a directional sentiment of the visible and tangible. She takes drawing lessons at the age of 8; attends design classes at the Escuela de Altos de Chavón; and studies in the Paris American Academy, obtaining the title of Bachelor in Fine Arts. In Paris she does not only study, she also displays her art, researches, participates in the academic activities with drawings and paintings in the Paris American Academy, and there she carries out a solo exhibit in this very year. The artist centers her attention on learning techniques, but what she cares about the most is her creative freedom. Inside the frame of new creative proposals, she endeavors an exploration, starting out from some postmodern movements of European and American Art.

As a matter of fact, in what so far has been the work of Soraya Abu Naba'a, you can observe a creation branded by a an aesthetic and meta-aesthetic exploration, in which the artist develops her own language and her own artistic and visual bearing. "GENETIKOS" alerts us about the line and path undertaken by this visual artist in a context of creative projection, which has drawn her to individualize her pieces in a chosen order, possible to seize as shape and matter of the visible. We could say that the transgressing vision of the artist takes her to an artistic-visual work, taken as tension, decision and a sensitive experience. The view organized by her present visual creations also integrates the elements of a path branded by the art that took its place and time at the turn of the new millennium and the new century. 

We observe, as an artistic particularity, how Soraya Abu Naba'a uses the "RIZOMA", understood as the core foundation of her paintings and in her numerous drawings, projects and variations of models, the artist experiments with diverse purposes of work and representation. The line of an open creativity in the context of new artistic solutions, drives the artist to experiment with small and medium formats on the basis of structures that bond and produce images or defined visual themes, in a coincidence of looks and senses in dialogue. Particularly, the artist makes her experience a palpable and visible space, instructed by which today is the bio-synchronic process of language and the "instinct" of subjectivity. The diminutive elements and creatures we find in the pictorial maps of this artist, gain value as points of significance and footprints in a post-contemporary imaginary cartography, sketched and painted through signs, neo-figural lines of representation and bodies transformed in time and meaning. The type of composition, in a web, fabric and space used by Soraya Abu Naba'a, also reminds us of a certain post-vanguard art which has manifested itself since the 70‚s, 80‚s and 90‚s decades, starting out of ethical, aesthetical and technological mutations. The diverse perspectives that can be observed from this experience are observed as transforming, and defining the languages which, in use and discourse, show alteration as a critical and psychological space. The alternative art, the product of the sensitive and the visible, affirm a new condition of the artist in the post-contemporary visions, and in the removal of the foundations of some artistic tendencies, which generate visual gestures and morphologies materialized in an eclectic and creational open work.

It is from this experience of contact, study, work and reading that the art of Soraya Abu Naba'a spring forth. Her inclination and, above all, her necessity to communicate and work on details of sensitivity and vision allows us to understand her calling and, at the same time, an artistic perspective branded by a late-modern creative line which makes it possible to understand the meaning of her last sketches, paintings and projects. Odalís G. Pérez
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