The Transformation of Shape Movement Structure in the Drawings of Wasma Al-Agha

Formal formations, linear arrangements, variations in spaces, color contrasts, proximity and spacing between shapes, and even the repetition of shapes in some cases, and differences in sizes, make the painting a full-fledged compositional dimension. Therefore, we find through that importance a pressing need to conduct a study that sheds light on an important aspect of the formation represented by the experience of the artist Wasma Al-Agha. From this starting point, the researcher found a logical justification to address the subject of this research, to study and deepen the idea of shape movement and its relationship to the paintings of the artist Wasma Al-Agha. Through the foregoing, the researcher was able to formulate the following question: To what extent does the structure of shape movement transform in the drawings of Wasma Al-Agha?As the current research aims to understand the mechanisms of formation, types of shapes, and their movement in the drawings of the artist. Therefore, the researcher relied on the descriptive-analytical method (descriptive analysis) due to its suitability for the subject of the current study and what it allows for in terms of analysis procedures in order to achieve the research goal. The sample was selected using the intentional selection method for the representative sample of the research community, where the researcher identified his research models (3) models from the original community. Also the research came out with a set of results, the most important of which are: The artist tried to represent a sad and dramatic story of the suffering of immigrants in the Iraqi provinces, as in sample number (1). She relied on her own style in embodying the shapes to convey the scene with an illusory movement of the shapes, like an old inherited novel that she tells through colors and shapes, as in all the samples. As for the research Conclusions: 1. The artist relied on multiple pure colors that express a festive dimension that evokes joy in the viewer's soul. She depicted the Baghdadi scene that was repeated in all her paintings and her representation of the Iraqi woman as an old inherited novel that she tells through colors and shapes.