Mohannad Orabi

Dominated by vivacious childlike figures in various scenarios, Mohannad Orabi’s previous paintings reflect his interest in the spontaneity of process and the liberation of form that emerges when art is created intuitively without fixed directives. Many of these mixed media canvases were painted as self-portraits, revealing the artist’s fascination with the evolution of consciousness in childhood and the wonder and whimsy of the formative years that first shape our comprehension of the world.


With the start of the Syrian uprising and the conflict that followed, Orabi adopted an increasingly realist approach to portraiture, drawing inspiration from the various media that are currently forging a visual repository of the war. Martyr posters, Facebook profile pictures, and other types of filtered or composed imagery serve as source material for portraits of Syrians under siege, displaced, and in exile, recording a side of the conflict that lies beyond its ideological divisions and political talking points. While the artist retains an interest in the socialization processes of childhood, his own experiences of now living outside the country have led him to consider the ways in which visual culture, social media, and digital communication have become substitutes for what was once tangible.


Born in Damascus in 1977, Mohannad Orabi currently lives and works in Dubai. Orabi graduated from the Faculty of Fine Art in Damascus in 2000 and won the first prize in The Syrian National Young Artists Exhibition in 2006. Solo and group exhibitions include Wadi Finan Art Gallery (2018), Ayyam Gallery Al Quoz, Dubai (2017, 2014, 2009); Ayyam Gallery Beirut (2016, 2014); Den Gallery, Kuwait (2016); Fondazione Giorgio Cini, Venice (2015); Ayyam Gallery London (2014); Ayyam Gallery Jeddah (2013); Ayyam Gallery DIFC, Dubai (2015, 2014, 2012); Ayyam Gallery Damascus (2008), Zara Gallery, Amman (2007); and Ishtar Gallery, Damascus (2006, 2004).

In 2014, Orabi was listed among Foreign Policy’s ‘100 Leading Global Thinkers’.