Nihad’s self-taught style has evolved from a more classical interpretation of still life. With remaining traces of his earlier work Nihad’s subjects capture an unchanging human condition; the monster a subject that is “scary outside but innocent inside” and the tree standing for the “people who are repressed, the people who want justice, who have needs.”
Trouble looms over his subjects as he spins old myths into contemporary renditions. The burdened mind casts a dark shadow that is pierced by the flutter of a bird or a piece of fruit. While his soft and rusted tones at instances turn these shadows into casts of shade.
Born in Aleppo Syria, 1972, he signs his paintings with the count of seven,for each member of his family. With no academic training but a rebellious spirit; he compares himself to broken glass. His artwork exploded after being released from prison, after trying to escape military service, and has since appeared in solo and collective exhibits in the region and in the U.S.
(quotes taken from Nihad’s interview with N. Dirany)
yawmeya(r)t 