Making Sense of the Apocalypse
2m × 4m
Mixed Media
It began in stillness.
A 2 × 4 metre canvas stretched open at a moment of rare clarity — when the practice was focused, the colors tender, and the first marks arrived in shades of pink, unhurried and full of possibility.
Then the world shifted.
As conflict fractured the region — the bombings, the political tremors felt across Kuwait and beyond — the painting became something else entirely. It became a floor. A carpet. A shared ground.
Children from Jawaher’s workshop began moving across it, leaving their fears, their confusion, and their small navigations pressed into its surface. Then came the women — layering over the saturated color that came before, whitewashing those vivid, charged moments as if to make room for what could not yet be named.
And then the skies of Kuwait darkened. Smoke from burning oil tanks rolled across the horizon, turning the landscape into a study in gray — clouds that were not clouds, fire that carried memory.
Making Sense of the Apocalypse holds all of this. It is a record of a threshold crossed — from peace into uncertainty, from color into ash, from solitude into collective grief and survival. It is not one painting. It is many lives, moving through one.
