Nabil Kanso Work
.... The highly concentrated images create a deep space of a hellish world where destruction, pain and terror are everywhere. The aggressive use of brush and color charge the surface of the canvas with an explosion of raw, brutal and violent expressions stressing the emotional state of the artist and the inner reality of the subject matter.
Ghostly faces and spectral figures emerge with diabolic creatures and frightening elements in a gloomy prospect of a menacing atmosphere overhanging desperate pleading figures underscoring a mood full of pathos and tension.
The depicted scenes invest the space with visionary intensity reflecting our present reality, an encounter with the unconscious human souls of our planet, providing answers and assertions and denials of the evolution of a war state sustained by destructive hypocritical pacifism, a reflection of finding a definition in a warrior's just cause, in the perfection of being man.
Nabil Kanso's paintings express and communicate in a dynamic charged with highly concentrated energy and power that capture the essence of the experience and deepen the pictorial and historical movements of a great content of the reality of a gagged society that may be regenerated in absolute peace or apocalyptic destruction.
The antagonisms of human beings make their presence in the canvases of Nabil Kanso, in a thesis and antithesis that provide a discussion, a dialogue, a vibrant activity whose final and unpredictable target is solely sustained by an art expression, a powerful message, a crisis in the current cultural, social and political criticism.
We are the beings, the expectation of the present, the anguish of tomorrow, we are part of the pictorial work of Nabil Kanso's, we echo his artistic revolutionary temperament and indictment, his admonishment and denunciation of violence and war propagating terrible tolls of human life, suffering and destruction, we are present in the webs of his imageries, and we must be part of his commitment."
From the article
Nabil Kanso Work
by I. Rossi, published in Panorama, April 10, 1985, Maracaibo,