AbdulQader AlRais has now recovered reality in his painting. He tries to find his alternative in the portrait of the condition, value or awareness. He says, in his recent works, the aesthetic of his expression is about another possible and permissible reality and is met as a project for the following. It is beautiful in its raw materials, in its accurately observed colors, in its imagination of the clear. Trough his description of the soul not the physical, he regularly succeeds in penetrating the origin and moves away from the transfer of reality to the frame. This is because the frame is a state of spirit and his existence is vision trying ti emerge from the rubble of the relevant consumer. Art imitates reality only from the perspective of subordination to tradition but the real artist is the one who thinks about reality and feels and expresses in the language of art.
In other words, art can be the birthplace of forms of the soul and its visuals, even the extent to which shapes and expressions are realized during the completion of the painting. This is a condition that artist wish to reach. Abstraction, in the modern understanding, is attitude-oriented but it also a technical language and an expressive style.
Does AlRais aspire to the fragile vacuum and the shaking space for the buoyancy of his forms? Does he rise to the "abstract picture"? Or is he swinging between conditions of an alternating self
His works say and do no say enough, as they deal with traditional forms and architecture between focal points and abstractions, some which refer to realism, some to a reality, some to the imagination. Perhaps it's a latent modernity or the romantic ambience of composition and the local visuals form that grew in the lap of a limited and poor schooling tradition, which does not encompasses the hardship of life in the region before it exploded with beauty. Here arises the side issue: the mission of yellowness of the desert beauty and laying to rest the dead spirit.