Over four decades of questioning why and what, my mind has developed its paths to places that make painting as delightfully delicious food on an afternoon in sunshine. It takes me to fields of golden wheat, to eating watermelon in the speckled shade of an olive or fig tree, to vistas of the blue sky meeting the blue Mediterranean and coming to my very toes on the sands of a beach while yearning for my homeland.
Painting is the most beautiful of languages, and difficult. I find the solid foundations in the history of pictures. My dialogue is rarely with curators or historians or critics or dealers or other artists. Their interests in the world of art are formed and their guidance is intimately connected to those interests. From the solidity of the past and the common sense of present friends I search for what will be significant to a revolutionary future that has not yet come.
My paintings are abstract because I respect most the revolutionary artists of the 20th century. The artists of Cubism, Futurerism, Suprematism, the Mexican muralists, and the Abstract Expressionism are the best of the past century. I want to follow then and continue on the path they began. Programming kinetic painting on computer and producing a video of moving abstractions with sound is a result of taking this path. On the other hand, because of my pain and anger over what is happening to Palestine, I also do documentary drawing on Palestinian subject matter, particularly on massacre, as a political expression.
Please click on the picture above to enter the Memorial to the victims of the Kafr Kasem massacre of October 29, 1956. See the introductory picture and then click again. There are fourteen pages of pictures and information and twelve pages of witness statements. Please be sure to visit the roster of victims and the artist's statment about methods of documentation, research, and the making of the documentary drawings.
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