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Hamid often refers to his paintings as a ‘psychic moment’ - Something that occurs in the blink of an eye perhaps. Through the magic of liquid paint, it is also a time period that can become elongated and stretched further. At that moment, there is confusion in the mind’s eye about what it wants to see, what it can see, and what it might try to do with what it sees. This confusion is then layered in a painting so that nothing is very clear, but everything that was applied before battles to be seen. This layering is what Hamid also calls a ‘psychic archaeology’ so that the particular is just as important as the whole. Hamid asks the viewer to seek out details that might otherwise be overlooked in a shorter viewing. The artist believes in a kind of visual slow-motion - a need, or desire, for the viewer to contemplate. For his themes, Hamid refers to the tradition of Pin-Up modeling, obscure or vintage soft pornography, casual snapshots, social media photos, and the religious tradition of Western Art History.… all rolled into one. In these often wide-ranging references, he sees a long, long thread of what is commonly referred to as the stereotypical ‘male gaze’ - or the objectification of the female figure. Instead of directly applying his imagery to this concept of objectification, he instead seeks to turn it on its head. As such, his work seeks to reverse the traditional observation of the female figure and, in so doing, focuses instead on the concept of the male gaze in all its inherent confusion.

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