Artist Statement

عبارة «الوحدة والتنوع» التي رافقت معارضي الأخيرة لم تكن عنوانًا أدبيًا بقدر ما كانت قاعدة فكرية—ثنائية حملتها الوجوه التي رسمتها، تلك التي لا تشبه إلا ذاتها.

Let us share something meaningful and engaging, while keeping it concise to maintain clarity and focus.

Not every word spoken about art or its essence can fully capture its spirit, just as not every brushstroke on a canvas belongs to the realm of art or embodies its values of beauty, style, or technique. The key lies in approaching creativity with humility—both before and after engaging in its practice. Furthermore, it is vital to trace art back to its intrinsic origins, while reflecting on the influences and transformations encountered along its journey.

Here, I invite you into mine-one that moves beyond singular emotions and rigid academic constructs. Since 1990, I have experienced a progression: from Expressionism to Abstraction, a transition still anchored in visible reality, yet deeply intertwined with the bitter remnants left in the soul, mind, and emotions, and the persistent shadow of marginal existence shaped by the Nakba.

This evolution gave rise to Abstraction in my work, centered on the theme of “ Ruin Engineering” Simultaneously, I couldn’t resist a profound, aesthetic yearning to express through faces—a desire that has remained deeply ingrained.

In recent years, I presented three solo exhibitions under the unwavering title: “Unity and Diversity.” This theme resonates in the forms, colors, and the progression of style and treatment.

Out of respect for what has been written about my work, I choose to share selected excerpts, refraining from debate:

The esteemed critic Farouq Yousef observes that “ Ruin Engineering ” is a phrase steeped in pessimism, making it a challenge to escape. How, then, can one depict forms or glimpses of hope arising from its depths? This imaginative concept draws its strength from reality itself.

This is precisely what Abdel Ra’ouf Shamoun set out to achieve when he chose this expression as the title of one of his exhibitions. Fully aware of the delicate balance between reality and illusion amidst a web of themes, Shamoun embraced this duality. As a skilled writer, he steered clear of literary titles heavy with direct or reflective undertones. Instead, he adopted “Unity and Diversity” as a comprehensive title for his artistic journey.

Shamoun harnessed this duality as a wellspring of inspiration for his creative philosophy, making it the cornerstone of his stylistic evolution. While his work is free from rigid stylistic constraints, his paintings are instantly recognizable, even without the aid of his signature. The faces he paints are tied to no specific individual; they exist as unique entities that may hint at an internal persona or evoke the idea of a mask. Yet, this does not diminish Shamoun’s standing as one of Jordan’s most significant abstract artists.

I now dedicate this space to honoring absent friends.

I recall a brief note from the late artist and dear friend, Mahmoud Taha: “Shamoun wields a multitude of tools, including a profound cultural command of language and its subtleties, alongside a gift for critique. These qualities enabled him to enter the realm of visual art and leave a lasting impact. His body of work reflects a seriousness that has matured over time, culminating in a modern abstract style.”

The late and esteemed caricature artist, Rabah Al-Sughayyar, also reflected: “Shamoun may have been the first to truly grasp the intricate relationship between the artist’s self and their subjects. Without question, he mastered the rare ability to adapt his artistic approach with fluidity—whether through his Abstract style or by seamlessly blending Expressionism and Abstraction. Over the years, his works have stood out in exhibitions for their remarkable artistic sensitivity in color and composition, all while continuously evolving his techniques with diverse tools.”

I shall end here with a thought I once expressed in an artistic testimony: The scene is before your eyes—look deeply, and you will see what others cannot…

You might perceive a profound, shadowed depth—something far removed from simple blackness—where your sensitivities hover, caught in a flow of time that defies expectations. Could this hint at the supremacy of dreaming? Perhaps it mirrors my own encounters with evocative ambiguity and the intricate web of moral criteria. This dynamic may have anchored me in the world of painting, keeping me in a state of heightened awareness felt by those who are both bewildered and tethered to an unending passion.

Abdel Ra’ouf Shamo’un

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