Mosul Massacre

The inherently violent nature of war means that a lot of atrocities were committed through out history, but this one happened to be in my native city Mosul (Nineveh) where Assyrian civilization took root 2500 BC.

There is no more daunting challenge for human than trying to spare innocents from the litany of abuse associated with raging conflicts of our time.

For a while, the world seemed determined to put an end to the most horrendous crimes facing humanity, outraged by the genocide in Rwanda and ethnic cleansing all around the world. But, instead, it has become the norm nowadays.

It was an irresistible years-long urge in me that pushed me to record the atrocity and the unfolding drama that engulfed my beloved place of birth.

In any artistic portrayal of real atrocity, you need a very sophisticated medium to convey the drama, films would do it best when available. They can render it with endless images.

For me as a painter there is only the canvas. The challenge was daunting. I wanted to show the world the real thing that happened there ,to move them and force them out of their comfort zone without losing my artistic identity. I wanted to reflect my way of seeing the world.

The light effects on the faces are cinematographic, spotlight from different directions. They enhance the painting to another level, also they vary in intensity. The perspective is more mutilated. I used it in complete disorder with science. It was important for me to give the painting another dimension. The single frightened eye image is an example. Furthermore, I have chosen textile that suit our culture there, and what the people wear today. The composition is very dramatic. I have included a lot of children. The end work as a painting is also universal and beautiful.

Talal