A Conversation with Artist Mohamed Salih Khalil, “Live Broadcast: An exhibition for Mohamed Saleh Khalil”, The Palestinian Museum, by James Scarborough

Mohamed Saleh Khalil’s work explores cultural identity, memory, and the human condition by synthesising traditional and contemporary art practices. His art is distinguished by his meticulous attention to detail, vibrant colour palettes, and the seamless integration of various mediums and techniques. His works transcend visual representation; instead, they invite us to engage in a reflective dialogue about the complexities of modern existence and the enduring impact of historical narratives.

His use of traditional motifs and symbols reinterpreted within a modern context speaks to his deep-rooted connection to his cultural heritage. This synthesis not only preserves but revitalises these elements, making them relevant to contemporary audiences. His ability to weave together the past and present is evident in his large-scale canvases. Here, intricate patterns and textures coalesce to form a cohesive whole. Though these works evoke a sense of nostalgia, they also brim with an energy that challenges static interpretations of tradition.

His thematic focus on the human condition, particularly concerning socio-political issues, adds another layer to his work. His pieces depict scenes of struggle, adaptability, and hope. They capture the essence of the human spirit in the face of adversity. Furthermore, his use of light and shadow imbues his subjects with a palpable sense of presence and emotion. Khalil’s art serves as a powerful medium for social commentary. It encourages us to reflect on our experiences within their broader societal context.

Khalil’s work is a testament to the transformative power of art. It bridges the gap between tradition and modernity; personal and collective memory; and aesthetic beauty and profound meaning. His art is eye-catching but also engages the mind and soul, making him a significant figure in the contemporary art world.

(Mr. Khalil's responses were translated from Arabic to English by Rawan Nemer).

JS: Your work incorporates traditional motifs and symbols reinterpreted within a modern context. How do you select and transform these elements in your art?

MSK: I like to define myself as an expressionist artist. I studied in Germany in the style of the founding German expressionists. Thus, in my artworks, I often employ expressive symbols and forms that add a particular idea or motif. Furthermore, my Eastern origins and upbringing are undoubtedly reflected in the atmosphere of my artworks. I love Eastern culture and its traditional arts, and I find them more authentic and intimate than the reality of modernity and contemporary culture.

JS: How does your cultural heritage influence your artistic practice? In what ways do you seek to bridge the gap between tradition and modernity?

MSK: I do not see a contradiction in the matter. I am a contemporary artist working with a modernist art approach. I benefit from the experiences of contemporary artists, and I depict subjects that are open to life. It can be a local topic in which case I utilise the local visual language of symbols, miniatures, and inscriptions. I may draw a nude or nature... and so on. The thing is that I am painting any given subject using a contemporary artistic practice. My culture is not wholly oriental. I love the Arab cultural heritage in general, and this certainly affects my work. But I am a person who is open to the heritage of humankind, especially in the field of visual arts, and this also affects in some way my plastic arts approach.

JS: Your work explores themes of memory and identity. How do you approach these complex subjects? What message do you hope to convey to your audience?

MSK: This is one of the most important aspects of my artistic career and visual experience. Although I do not like for my work to remain constricted to political topics, the bloody events that my country is witnessing as a result of the armed settler occupation always situate me in the middle of the storm. There is a bloody struggle over identity and memory. The occupation always seeks to erase Palestinian memory and replace it with a new colonial narrative. This makes for a people without a history and therefore without national identity. Palestinian artists and creators in general, in their various specialisations, devote their work to defending national identity, and they see this as the defence of our existence as a people. I do not march out of step on this, especially since I live amid these tragic events daily.

JS: The socio-political undertones in your art are prominent. Discuss specific works where you have addressed these issues. What impact do you aim to achieve?

MSK: I have devoted much of my work to fighting social injustice, religious extremism, and the suppression of freedoms. I painted artworks that expose the practices of ISIS, and I also painted works that glorify the Arab Spring revolutions and the people’s revolution(s) against tyranny. Regarding Palestine, I have painted against the suppression of freedoms and speech, and of course in exposing the crimes of the Israeli occupation of Palestine. My exhibition at the Palestinian Museum, Live Broadcast, was entirely dedicated to exposing the acts of genocide in Gaza. As an artist, I cannot claim for a single moment that I did not see or hear these things. It is a moment where you must speak up [now] or never at all.

JS: Your use of light and shadow adds a dramatic effect to your compositions. How do you utilise these elements to enhance their emotional and narrative depth?

MSK: As I have mentioned, I am an expressionist artist. I derive the themes of my works from people’s conditions; their joys, and sorrows, and the beauty and misery of their lives. I leave a hidden speck of my intellectual and ideological inclinations within the atmosphere of the artworks. Since the shadow is a euphemism for the absence, or near-absence, of light, the matter is just about expressionism par excellence. [Francisco] Goya used this approach a lot in his works, such as The Disasters of War and The Black Paintings. The shadow makes a dramatic impact on the artwork. This is what artists have realised not only in their paintings but in cinema and theatre as well.

JS: Describe a challenging project you have done. How did it contribute to your growth as an artist?

MSK: Really, every piece is a new challenge for me. I do not copy myself. No work is similar to another except in regards to the artist’s style and personality. For Live Broadcast at the Palestinian Museum, I produced harsh works about the war and genocide currently taking place in the Gaza Strip. It was a tough challenge for me. Many times, I have painted about war, but they are experiences that differ from this current war. I used to paint after the war had ended and everything had ‘calmed down’, so to speak. This gave me an opportunity for emotional balance and to return to the character of a professional artist. As for my current exhibition, I was painting under bombing and killing. There are some paintings that I had to repeatedly update and add to, as war always created a new form of death. I hope to never find myself on trial like this. It is devastating to me in all aspects; for on the one hand, I am an emotional person who is quick to break down. On the other, I am an artist committed to documenting people’s pain, even as I am also an artist who loves drawing the other side of life: the side in which you see the pure blue without smoke, and the beautiful brown of the earth’s soil untainted by fiery destruction. I like to paint the (nude) human body and treat this subject as an artwork, not as a torn body gnawed at by stray dogs.

JS: What is the artist’s role in contemporary society, especially concerning social and political discourse?

MSK: I am not an advocate for politicising art, although I am a leftist in my social and political vision. However, I like art to be balanced, presenting human values ​​that people understand, wherever they may be. This does not mean that art does not side with humanity against killing and wars. History teaches us that the artist is a committed person, even if it seems otherwise under normal circumstances. Art is also an intellectual value, not merely an aesthetic value. The artist, in various forms of creativity, such as poetry, writing, cinema, etc., sometimes puts his life on the line to speak the truth. This is exactly what has happened to me. I do not like to draw about politics, and if it were up to me, I would always draw for joy, life, and beauty. But I cannot do that at a time when I see my people being killed every day. Art is a sublime aesthetic cultural given that speaks a universal language, regardless of the artist’s nationality. But at some point in our lives, art turns into a weapon to defend humanity and human rights: to protect the vulnerable and oppressed.

JS: You have exhibited internationally. How do different cultural contexts influence the reception of your work? How do you adapt your practice to resonate with diverse audiences?

MSK: I realise that well-crafted and original artworks always find their way into people's minds, no matter where they are on this planet. You have to be good enough, to the utmost standards. Do not forget while working that you are primarily an artist and not a storyteller. This approach is what made the immortal classic artworks, immortal.

JS: What future directions or themes do you envision exploring in your upcoming works? How do you see your art evolving in the coming years?

MSK: I always like to experiment with new artwork. I do not like to copy myself from past experiences. I hate that and find it contrary to the very ethos of ​​creativity. I always allow my very self to ‘change her clothes’, so to speak; to open windows to possibilities, so I find in every new job another challenge. This is difficult and disturbing, and it always creates dissatisfaction. The artist always lives in creative anxiety. I hope to always find my way through this perpetual anxiety. But that is the nature of things, the harsh tax that a hardworking artist pays.

The Palestinian Museum is located in Birzeit in the West Bank, Palestine. To learn more about Mohamed Saleh Khalil’s exhibition, which closed May 29^th, click here. For more information on the Museum’s current and prior exhibitions, here.

Pain, 2020. Acrylic on canvas, 140 x 177 cm. Courtesy of Suliman Mukarkar

The Grief series 1/#2, 2017. Acrylic on canvas, 90 x 90 cm. Courtesy of Suliman Mukarkar

The Grief series 1/#3, 2017. Acrylic on canvas, 90 x 90 cm. Courtesy of Suliman Mukarkar