✿ Fattah Hallah ABDEL ✿

'In adulazione ora...
come una favilla dell'Amore

respiro e canto
la tua poetica carne
fino a fondermi nel tuo piacere
non occorre che ti guardi
lo sento sulla tua pelle che sei mio...
mio...mio
in un istante per l'eternità...'

~ Catherine La Rose ~

'E' così che ti aspetto
piegata indietro
forza 7 dal vento
a pronunciarmi veliero
il tuo respiro sul petto...'

~ Catherine La Rose ~

'In adulazione ora...
come una favilla dell'Amore respiro e canto
la tua poetica carne
fino a fondermi nel tuo piacere
non occorre che ti guardi
lo sento sulla tua pelle che sei mio...
mio...mio
in un istante per l'eternità...'

~ Catherine La Rose ~

 Fattah Hallah Abdel [Галла Абдель Фаттах] was born in Moscow on 1970. Touching Egypt… it is amazing to touch ancient exciting culture, a mixture of wisdom, mysteries, golden sand and dusty winds in snow-covered Moscow. One has just the feeling of that mysterious attractiveness when meets that woman fragile, helpless, amazingly beautiful, her profile reminds portraits of Egyptian empresses. Especially, if you can see her among lambent gold of her pictures. But when you start talking to her it is like the mist clears away and features of a very russian, soft, poetic character come out through a bright, eastern appearance; it is an astonishing combination making this woman even more fascinating. How was such a mixture born? What does it promise? In what creative form such a spirit can be realized? I believe everyone asks these questions who becomes acquainted with Hallah and her works.
She admitted that she had not turned to Egyptian themes in art for many years, but the roots are powerful and sooner or later they reflect in artist’s work, find their form of existence on canvas. Grown up in Russia with traditional values of Russian fine arts at a certain moment Hallah discovered the harmony of ancient Russian icon painting and Egyptian symbolism, their graphical fineness.
It seems that absolutely incongruous notions go together in Hallah’s work: permanency of Ancient Egyptian frescos and reality of modern European painting, ancient brightness of gold and azure and modern relevancy of yellow and blue, hot temper of the south and moderation of the north. However, in Hallah’s work beside “ancient” Egyptian oeuvres there are modern although still a bit fantastic plots. In her hands even portraits have certain magic.