Literature

Ziad Al Najjar’s latest series marks a fresh direction in his practice, embracing oil sticks as a new medium to amplify the scale and visibility of his mark-making. Moving away from the finer detailing of pastels, these bold, sweeping strokes open up a new dialogue within his work, capturing a raw, vivid energy. The paintings pulse with deep blues and stark whites - hues he associates with spiritual transcendence and calmness. Ultramarine, in particular, carries historical, religious and cultural connotations, often framed as a divine or healing shade, loading layered meaning into his palette.

Najjar’s layering technique, a core element of his process, takes on new dimensions in these works. He juxtaposes dense, textured compositions with pared-down space. Such a contrast invites viewers to engage with the rhythm of nature - echoing cycles of growth and decay. This new body of work straddles spontaneity and precision, instinct and careful construction, the boundaries of abstraction, and symbolism, it asks - how do we connect to the natural and spiritual worlds. Najjar’s revisiting of his earlier screen prints, invested with religious motifs, invites reflection on the dynamic between the spiritual and the earthly realms, the past and present.

While best known for his approach to abstraction, here figuration arises as human faces and creatures like deer and goats are rendered in his paintings. This move towards figuration signals a shift, grounding his otherwise abstract explorations. Goats, with their chaotic energy, offer a humorous yet culturally loaded presence. In contrast, the deer appears almost mythic, a serene, Eden-like figure amid Najjar’s untamed landscapes. This tension between abstraction and figuration nods to broader themes of chaos and tranquillity.