Cartoon artist Muhammad Qajoum throws his fiery little balls here and there, intending, with his paintings, to drag the recipient into the arena of action instead of watching. He becomes energized by an unruly soul that explores the reality of events and heads toward them, driven by a glow of sarcasm, anxiety, and the desire to scream. Qajum's characters also do not imitate a style; The artist was able to find a template, model, or defining character that moves him, even relatively, from the realm of imitation to the realm of privacy, at the level of the Carter hero as well as the atmosphere of the idea, and it grants access to a wider space of experiences and revelations that express a formula that looms on the horizon or arises suddenly. From the pile of continuous practice on the game of lines and its uncontrolled flows and trying to throw it as much as possible in the direction of the goal, it may be similar to throwing a golf ball, except that the push is often a flaming ball towards its target. Through his works, the artist also strives to make the idea accessible to the recipient. Rather, he throws the ball in front of him, formulated in the form of a question: “Can I do this?” The answer is often also formulated in the imagination of the partner (the viewer), as he contemplates, analyses, compares, and criticizes, finally concluding that it exists and lies at the heart of the caricature act, and that this attraction is as much It establishes the artist's favorite relationship with him, and in return represents his awareness of the vocabulary of the brush and that it is its main focus. From his local and regional surroundings, Qajum picks up all aspects of the political, economic and social uproar, and tries to reflect on the paths of these speeches and place them with a tinge of sarcasm through the caricature between the two sides of the question and the answer, as the puzzles of the anxious imagination do not aim at a single perception or a unilateral space that throws away these burdens and turns to others, but rather stops at A binary form that alternates roles, finding a tendency to explain, or just putting an exclamation point. We are then faced with a moving procession of artistic approaches probing a situation or a group of events and presenting them according to a specific caricatured condition. Post-Zawawi Libyan satirical art drawing still hovers around the area of reference or connotation with its professional lines, and remains more present in the category of directness, but it seeks to transcend it through continuous experimentation, which is the goal of Qajjoum, who digs in the walls of the ocean searching for outlets that connect him to those lines, through... Her crucial question is: “How do we present the idea?” These doughs are considered part of the vocabulary of satirical drawing that Qajoum and other artists sculpt for their flavour. They embody a lot of the words hidden in our souls and also raise the ceiling of his speech, which turns into a caricature, resembling a bundle of flaming balls rushing towards an atmosphere enveloped in stagnation and stolen by the tongues of fog.
