I have constantly tried, as possible, to break the prevalent forms and types of expression until I reached a stage where my own work rebelled on itself, and went through new pattern of expression. Yet, this rebellious attitude remain constrained within the rules of my own concept of Art-work, a concept which I have been able to develop through my work, and which I do not intend to explain its internal system, nor would I sacrifice what I believe to be the golden triangle of the Art-work : spontaneity, dynamism and secrecy.

Since the mid 80’s my major concern was to develop an Art-work which would be able to eliminate the boarder between different fields of the plastic art; however,

the condition was to satisfy all my accumulations and later was able to find its own mind and logic needing only my sensation and emotion.

In 1989 I burned the boarder between the painting and the sculpture by freeing the treated canvas from the frame and then I cut it to an organic shapes and hang it from one side on the wall or in space. This act enabled me to open a dialogue between the Art-work and its context plus the canvas itself became the body of the Art-work. In other words, the constructive materials of the Art-work became at the same time the form and content of the Art-work itself. I named this series of Art-works (Al-moualaquat) The Suspensions which I exhibited in my first one man show in Paris, 1989. Since then my Art-works adopted this concept of direction by searching for "Other Body"of an Art-work. So I did in 1991 a series titled "The Bent", Plastic sensation first generation92, Nostalgia94, Traces of Angels95, Nabatian 96, Contemporary Miniatures 96, Icon 97. Before reaching the recent series (Plastic sensation 2^nd generation ,3^rd generation & Repeated and Different), I realized that during my journey a huge amount of visual and sensational accumulation has been collected, which led me to eliminate the unessential part or in other expression "Burn the Luggage".

In replacement, I kept a body of Art-work, borrowing its elements from nature and sometimes a tattoo of images and texts appears on its skin depending on time and space.

Burning the boarders between the classical technique of the Plastic Art and using all the possible media to create what we call an "Art-work" has been initiated, from the conservative point of view, with the (Dada) movement and was confirmed by the French artist (Marcel Duchamp) and what comes after him until the present time, from a global point of view, this concept has started with the primitive Arts where it was explicitly proved in (Primitivism in the Art of the 20^th century) an edition released in the beginning of the 80’s by the "MOMA" in New York, under the supervision of (William Rubin)..

In conclusion, I am not pretending that I have discovered a new concept rather, am proposing a solution of an Art-work which carries my special identity, offering, for me at least, a new observation.

F. SAMRA