The Knight Collection
One of the prominent themes addressed by the artist was the Knight. It is well known that this theme is present in all ancient civilization starting from the Pharaonic, Greek, and Sumerian civilizations, the culture of Ancient Rome, and passing through the Islamic Golden Age and the Far Eastern civilizations; since it implies cultural connotations related to manhood and chivalry (Hurwit, 2006. qut in Nasrallah, 2008. and Mehmet-Ali, 2006 qut in ibid).
The artist has addressed The Knight theme through the utilization of different techniques, painting and sculpture. He has derived the knight concept from the Islamic history, mainly from the figure of Saladin who liberated Jerusalem from the crusaders (The Savior1). In this painting, the knight appears in the form of a black shadow running the length of the tableau, with the city of Jerusalem, especially the Dome of the Rock, appearing clearly in the background. we notice that the cavalier is devoid of all facial features. We infer that the artist is completely knowledgeable about abstract art and the way it is integrated within the context. Thus, the work is not limited to an epic depiction; it moves to the symbolic space, and subsequently becomes more expressive.
It's evident that the Knight - Jerusalem theme was not addressed only once. It was repainted by the artist (The Savior 2) with the shadow of the cavalier appearing on the right side of the painting; the left side is occupied by Asherah (Oshra)- the Canaanite mother goddess, while the city of Jerusalem reappears in the middle. The artist has framed the city with the figure of the Knight; he reproduced the knight template. This repetition is consistent with Arabesque elements based on repetitions and similarities. Moreover, the artist has added Canaanite symbols and letters on the sides of the painting, to show the city's ancient history and his attachment to this history. By looking carefully at this painting, we notice that it is not a pictorial scene of Saladin's encounter with Asherah, surrounded by a group of knights. He has gone beyond these limits to reach a level where his artistic work formulated expressive symbols which constitute together the Savior's concept.
In addiction to these two paintings, there are dozens of artistic works addressing the cavalier's theme. This is an indicator of the intellectual and artistic richness which motivated the artist to create this amount of artistic works, depending on creativity and innovation in terms of color and composition.