Untitled 13

The formal structure of the work is built on a pronounced vertical rhythm, in which human masses stand side by side within dense chromatic fields. The painting thus appears closer to a sequence of visual segments than to a single, unified scene. The vertical lines - through the flow of color and the elongation of bodies - impose a sense of weight and enforced standing, lending the composition a monumental, almost memorial quality, as if the figures were human markers rather than living bodies. There is no horizon and no perspectival depth; the surface itself becomes the field of confrontation. Color plays an emotional rather than a descriptive role. Warm hues dominate zones of tension, while cooler tones infiltrate the surface like unsettling psychological layers. Color does not stabilize form but undermines it; it seeps and erodes, as though the body were formed from color only to collapse back into it. This disintegration reinforces a state of uncertainty and prevents the image from reaching completion. The figures are drawn with a strained, nervous line; their features are effaced, their bodies elongated and semi-transparent. This strips them of individuality and transforms them into generalized human conditions. There is no heroism here, only a collective stance within a zone of trial. Arabic calligraphy appears as an autonomous plastic mass, held in a tense relationship with the body. It neither explains nor decorates; rather, it observes and exerts pressure, creating a distance between the readable and the visible. The letter functions as a visual conscience, reminding us that language - like morality - is capable both of revelation and of pretense. From this uneasy formalism, a verse by al-Mutanabbi emerges as an unstable moral measure. The question is not posed through words alone but embodied in the fragility of the form itself: are we witnessing an expression of an authentic essence, or merely a representation? Here, ethics are transformed into a visible trace - a fissure in color, a fracture in line - and the human being becomes legible through the marks left by the body, rather than the values it claims to uphold.