Nisael Agag's exhibition entitled Future Satraps is a holographic teaser. He holds a strong belief on a universal evolution of the human race into higher beings that possess the altered state of metaphysical powers that liken into metaphors of the angelic beings.
His figures are appareled in beads, bangles, horns and swathes of filaments similar to the costume design of the Art Deco icons in the Hollywood epic movies. The allusion does not only end there. Nisael renders his arrays of Aryan-looking idols the splendor of sensuality replete with plumes and bands of twinkling lights displaying their variegated prowess.
Nisael displays in his works an awesome amount of patience, nurturing each figure with slow, daily emboss of gesso and mica that give them two dimensional finishes. His unique technique bring back memories of the French needlework which makes rows of colors spring up lively in plumage and floral designs on cotton fabric.
This visualization hides a beguiling intent of its creator, however. Several frames reveal a continuing progress of the dedication which Nisael implanted in them. He laced this impromptu special effects hidden in his works such as "In the Light of Prayer," Diamond Queen and the Fireflies, "Immortal Genes" and "The Porcupine King and the Space Within." Again, he repeats his surprising element in his landscapes, too.
His turn for surprise takes a serious turn o how Nisael has shaped his frames and located his figures within them. His preference for diamond-shapes and squares are his expressions of the universal and cosmic influence of what he describes as the "new man." The shapes will allow the same synergy no matter how the frame is revolved.