History is a fact, exists in the present. Our thought is not out of its history, history is ever contemporary.  It is the true image of everlasting present, considering truth is a continuation of past, present, and future.
 
This invited me to search for a memory horizon shared between the presence and absence. A search in a vast space capable of absorbing all what is related to human life (the myth of a philosophical religion) from the beginning of civilization.
 
My artwork is not only a representation of reality or a tradition of nature, but elements derived from life, society, and nature. A timeless work that drops light on imprudent aspects of our heritage.
 
Painting is a complex work attached to intuition. It is associated first to the spiritual awareness, rather than mental acquaintances,
 
I have used an overly complex color media synthesis, mostly acrylic in form, to make endlessly overlapping layers. Adding layers at times, removing at others, building and demolishing canvases, in an effort to reach the best arrangement of carefully selected elements expressing a scene of a thousand-year-old history. A scene that is modernly reconstructed to contain forms of mythical objects compounded to appear on the surface as real creatures from mysterious worlds invites the viewer to a state of study and to dive into a visual and mental dialogue ending with unanswered thoughts.
 
The approved flatness of color spaces. And the contiguous paint blocks visible in a timid harmony within the surfaces and areas of color overwhelming and disregard of perspective and proportions and simplify the forms to become closer to symbols and abstraction and exaggeration and give more value to parts at the expense of other parts to add a higher symbolic power, this concept matured in the civilizations of the Middle East thousands of years has the charm and power of expression intended to transcend the material reality to the spiritual
 
 
Simplicity and ambiguity, summary and condensation, overlap and repetition, truth and imagination, history and present, are spaces where stories intersect to give birth to one another in a time and place indeterminate but by the symbolism of shape that suggests its time and space.
 
The mixing of all painting methods adds to the idea of time or place instability, where it is possible that the artwork can be constructed according to several art school methods. What is important is how to mate and connect all those methods and complement them with parts of the artist’s personality and concept to present the recipient with an assortment of climates and universes that is not only enjoyable and stimulating, but that can incite the viewers’ curiosity and questioning.
 
For me, painting is a more of an intellectual project than a technical or commercial one, carrying a human concern that is haunted by anxiety in the journey of searching for insight.
 
Despite the spontaneity, more than a question or an interpretation in the spiritual dimensions of the past and present are unleashed in the recipient’s mind without preaching a new religion. The violence of the events we live in blurs the Sufi dimension that needs to be isolated and noiseless.