Abdul Karim Majdal Al-Beik uncovers hidden stories and histories amongst the graffiti, etchings, and marks that can be found on the walls of Damascus’s Old City, which he then sets down in expressive canvases. While in past works Majdal Al-Beik restricted his materials and used a stark palette of white black and grey, in his recent work he has employed a wider palette and layered a variety of symbols - small crosses, guns and knives - over stitched patchwork surfaces, in a physical response to the on-going turmoil afflicting Syria.

The mass of white crosses in Scarecrow are evocative of those left by mourners at the site of a loved one’s death. Radiating outwards from a golden orb at the centre of the composition, these crosses also serve as symbols to ward off evil. In Pain, four small crosses at the top of the canvases emerge from an explosion of black and red, whilst the fractured wall and sutures which divide the canvas create a sense of violence that is uncomfortably tangible. In The Trap I, pieces of paper dangle from undefined faces constructed in string, their form reminiscent of scarabs. Scribbled across these scraps are the words ‘security’, ‘stability’, ‘resistance’ and ‘confrontation’, suggestive of strength, determination, and commitment to the cause.

Born in a small village on the outskirts of Al-Hasakah, Syria in 1973, Abdul Karim Majdal Al-Beik has participated in numerous exhibitions throughout the Middle East and has been the recipient of several awards, including those from the Lattakia Biennale and the Shabab Ayyam competition for emerging artists. His works are housed in public and private collections throughout the Middle East and Europe.

Image: © Abdul Karim Majdal Al-Beik, Ayyam Gallery