Majd Kara, a contemporary painter originally from Syria, currently lives in Vilnius, Lithuania. He completed his studies at the Faculty of Fine Arts at Damascus University, where he laid the groundwork for his artistic journey. Since moving to Lithuania in 2016, Kara has continued to develop his practice and expand his presence in the European art scene, having held three solo exhibitions and taken part in numerous group shows.
The idea of human transformation and spiritual rebirth lies at the heart of Kara’s art. He delves into the ways individuals experience profound changes over time, shaped by a range of external and internal influences such as society, religion, politics, and personal life events. For the artist, each painting represents a glimpse into a particular stage or aspect of this ongoing cycle of transformation.
Kara’s artistic language is distinguished by his portrayals of bodies that appear fragmented or deformed. In many of his works, the human figures are broken into sections, often missing heads or with heads replaced by lively flows of color. With this method, he alludes to both the erasure or alteration of identity and the notion that true transformation is not limited to the mind alone. The persistent presence of blood-red hues alludes to the suffering and inevitability accompanying change, underscoring that both spiritual and personal rebirth are difficult but inescapable processes.
By employing unconventional shapes, inventive compositions, and vivid colors, Majd Kara seeks to both challenge and captivate his viewers. His artwork urges the audience to contemplate their own experiences of transformation, inviting a deeper exploration of what it truly means to adapt and grow amid the complexities of life.
About this artwork+
The painting depicts a surreal, elongated figure in various shades of blue, contorted and floating against a dark green, almost black, background. The figure is composed of smooth, flowing lines that suggest a sense of movement and fluidity. Each limb and the torso are exaggerated and morphed, not adhering to natural human proportions, possibly conveying a dream-like or otherworldly scenario. The head is tilted backwards in an unnatural angle, enhancing the overall sense of distortion and abstraction pervasive throughout the work. The use of color contrasts starkly, with the luminous blue tones of the figure standing out against the somber backdrop, directing the viewer's focus primarily to the figure itself. The painting exudes a mix of tranquility and discomfort, inviting the viewer to navigate through its complex emotional and visual layers.
