Lately, I’ve been experiencing a very strange and beautiful feeling… seeing my artworks suddenly appear in the streets of Amman on large outdoor screens with Seagulls Media.

It’s honestly hard to describe what it feels like to create something quietly in the studio — surrounded by paint, thoughts, silence, and long hours — and then unexpectedly find it becoming part of the city, moving among people, lights, streets, and everyday moments.

I’ve always felt that art shouldn’t only live inside homes or gallery walls. Sometimes it should exist outside too, where anyone can encounter it for a few unexpected seconds during their day. A small visual pause. A feeling. A memory. A color that stays with someone.

There is something very meaningful to me about making art accessible to everyone, even in the middle of traffic, movement, and ordinary life.

Maybe this is what I love most about public art — the idea that a painting can quietly become part of someone’s ordinary day.

Not everyone enters a gallery, but everyone walks through a city. And sometimes, a single image, color, or moment of stillness can unexpectedly meet someone exactly when they need it.

For me, seeing these works move beyond the studio and into the streets of Amman feels less like an advertisement, and more like a conversation between art and everyday life.

Thanks to Seagulls Media and artcrush gallery for this opportunity.

Art, to me, has never been a puzzle to solve. I don’t see it as scattered pieces we try to assemble in order to reach one clear, final meaning. It feels more like a space… a space to be experienced. We might feel something within it, or we might pass through it without anything staying with us—and that, in itself, is natural. Not every artwork needs to be clear, and not every experience needs to be understood.

At one of my exhibitions, many people stood in front of my works and asked me: What do these paintings mean? We don’t understand it. The question came up so often, as if an answer was expected, as if I was supposed to offer something definite. But I didn’t have a single answer. I would simply ask them: What did you feel?

Some spoke about a sense of calm, others saw the earth, the sand, and even mentioned Wadi Mujib specifically. And that was striking to me, because these works were in fact inspired by that place—its sand and the colors of its valleys. But what mattered to me wasn’t that they reached the “correct” idea; what mattered was that they allowed themselves the space to feel, without the pressure to understand.

At ArtMatters Art Fair, Amman

Perhaps we are simply used to understanding everything. We are conditioned to look for explanations, for clarity, for direct meaning. Understanding gives us comfort, while ambiguity creates a quiet kind of tension. So when we stand in front of an artwork that isn’t immediately clear, we rush to interpret it, as if it were something to be solved. But what if there is nothing to solve in the first place?

I believe there is a difference between understanding a work and feeling it. Some works are felt instantly, before any words are spoken. Others remain ambiguous, yet still leave an impact. And sometimes, the more we try to explain an artwork, the more its effect fades. As if explanation closes all possibilities, turning an open experience into a single, fixed meaning.

At Q0de art space, Amman

Ambiguity, to me, is not a flaw. It is part of the value of the work. It opens space for the viewer to participate, to see, and to feel in their own way. Each person may experience something different, and that does not diminish the work—it expands it.

But at the same time, ambiguity is not randomness. There is a clear difference between a work that holds depth without being literal, and one that is simply empty, without feeling or intention.

What weighs on me at times is the expectation to explain my work. It feels as if I am being asked to define how others should see and what they should feel—as if I am, unintentionally, closing a door that could have remained open. I don’t deliberately aim for ambiguity, but I also don’t try to eliminate it.

Some works insist on appearing this way, and I prefer to let them exist as they are, even if they are not entirely clear to me.

Even while painting, not everything is clear. Some things reveal themselves later, while others remain unresolved. There are works that bring me a sense of ease, and others that carry a quiet tension I cannot fully explain. And I feel that all of this can reach the viewer—if they allow themselves to feel, not only to understand.

Perhaps the role of the viewer is simpler than we think. They don’t have to understand, and they don’t have to feel what I felt. Maybe all they need is to pause for a moment, and give the work the space to speak to them in its own way.

Maybe there is no “right” way to look at art.

Maybe the only thing we need to do in front of it

is to be silent for a moment… and let it speak.

Artworks appeared in the article from ArtMatters Mena Art Fair -"Wadi AlMujib" collection

And two artworks from "On Paper" Exhibition at Q0de Art Space.

I took part in Art Matters for four days this April 2026, That were filled with beauty and unforgettable moments.

But perhaps the most meaningful thing I gained from this experience wasn’t only exhibiting my work, but the warm companionship of fellow artists—the conversations, the shared presence, and the feeling of being surrounded by art and people who truly understand it.

From the very first day, during the artwork drop-off, I had a special encounter with the artist Sharifa Hind Al Nasser, who suggested a particular way of displaying my paintings. Her vision was thoughtful and inspiring, and I felt confident following her advice. What meant even more was her support and kind words, which I deeply value, as well as the way she warmly introduced me to others, sharing in my excitement.

Behind this exhibition was a dedicated and inspiring organizing team: Dima, Zaina, Nesreen Faroun, and Noor. In a short time, they transformed a nearly abandoned space into a vibrant, living environment—filled with music, beauty, stunning artworks, and people who brought life into every corner.

During the exhibition, I presented a selection of my abstract works exploring the connection between humans and the natural world—not as a direct or realistic representation, but as something rooted in memory and the subconscious. Inspired by the landscapes of Wadi Mujib, these works were shaped through earthy tones and fluid elements that echo water and terrain. Through abstraction, I aimed to express a quiet, intuitive bond between the human presence and the land—a connection that is felt more than it is seen.

I’m also deeply grateful for the support of my friends, family, and everyone who came, stood in front of my work, and shared their thoughts and feelings. These moments, no matter how simple they may seem, stay with me and become an essential part of my artistic journey.

On the final day, there were moments that truly stayed with me. The visit of the artist Ammar Khammash, and his words that still echo in my mind:

“Not all artworks belong everywhere. Some belong only in exhibitions, and some belong everywhere.”

His words gave me a deeper perspective on the place and presence of art. Unfortunately I don't have a picture for that moment but its in my heart.

I also clearly remember what Mr. Mazen Asfour said as he stood in front of my paintings:

“I feel like I can breathe in front of these works.”

This touched me deeply, because these pieces were truly created in a space where I could breathe—a personal space I escaped to, where I found calm, distance, and myself.

They were just four days, but they left a lasting impact—

an imprint of art, of people, and of honest moments that are hard to replicate.

I had the pleasure of participating in the Art Fair International in Monaco in September 2025, an event that brought together galleries and artists from around the world. My participation was a wonderful experience, well-received by an enthusiastic and international audience.

Through Gallery Gaudi, a Spanish gallery based in Madrid, I presented three artworks from my Forest Collection, continuing my exploration of the inner, psychological forest—a space full of color, energy, and stories reflecting the depths of our imagination and emotions.

I am grateful to Gallery Gaudi for their support throughout this experience. Participating in Monaco was a highlight of the year and an important step in sharing the Forest Collection with an international audience.

Forest Collection – In Fluorescence

I participated in the exhibition at Wadi Finan Gallery as part of a group show titled In Fluorescence, which brought together six artists and took place on June 21, 2025. This exhibition was a deeply meaningful experience for me, one that I hold close to my heart for its warm atmosphere, thoughtful organization, and the rich visual dialogue it created between the artworks, the artists, and the audience.

In this exhibition, I presented works from my Forest Collection. In my abstract approach, the forest does not represent the physical landscape we encounter while walking among trees. Rather, it reflects the psychological forest within us—a space we navigate internally, often without knowing what lies ahead.

This inner forest is a place we journey through without a clear map. It may hold adventures, stories that have been told, and others that remain untold. For some, it can be dark and heavy, while for others it unfolds as a forest filled with color, joy, and vitality. These contrasts are at the core of what I aim to express through my paintings.

In the Forest Collection, I worked primarily with a palette knife, applying small, repetitive strokes that build dense layers of texture and color. The bold and vivid palette is not merely an aesthetic choice, but a visual language that speaks of inner depth—of tension, joy, curiosity, and the quiet mystery we carry within ourselves.

This collection is among the closest to my heart, and one I continue to revisit and develop. It reflects my own transformations and offers me an ongoing space for exploration and introspection.

The exhibition was enriched by a beautiful and engaged audience whose presence added a vibrant energy to the space. Their interaction with the works played an essential role in shaping the overall experience and bringing the exhibition to life.

With Mrs. Suha Al-Lass, Owner of Wadi Finan Gallery and Sharifa Hind AlNasser.

I extend my sincere thanks to Wadi Finan Gallery for their excellent coordination and thoughtful organization, and for creating a supportive and welcoming environment for both artists and artworks. Although the exhibition has come to an end, several works from the Forest Collection remain on view at Wadi Finan Gallery, continuing the dialogue beyond the exhibition itself.

Madam Suha Lallas and the artists participan.

With Her Royal Highness, Princess Wijdan Al-Hashmi.

All points on you 💗.