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An Article by DM (597 words, 3 min. read)
JAH Art Gallery presents, from November 12 to December 12, Just Visionsa solo exhibition by the Iraqi-born artist Sinan Hussein. Living and working between Boston, Istanbul, and Sydney, Hussein brings together more than a decade of paintings and sketches tracing his evolution from 2012 to 2025. Through surreal figuration, emotional symbolism, and richly textured compositions, the exhibition explores memory, identity, and the human condition across time and transformation. Deeply rooted in his Mesopotamian heritage yet profoundly contemporary, Hussein’s work speaks to the universal search for belonging, resilience, and inner light amid complexity.
Between Memory and Metamorphosis
On the walls of JAH Art Gallery, Sinan Hussein’s figures emerge like memories stepping out of a dream, half familiar, half mythical. Jus Visions unveils how time, exile, and imagination mold the human image.
Each painting is a world of its own, is inhabited by distorted yet tender beings, clothed in nostalgia, draped in humor, and marked by the wounds of existence. Hussein’s brush translates the passage of life into visual poetry: faces melt into one another, gestures oscillate between love and absurdity, and objects — a toy, a red shoe, a traffic cone — become symbols of fragile belonging.
The Theater of Souls
The triptych curated against the crimson wall of the gallery, introduces a tone of quiet tension and timelessness. Figures sit on patterned pedestals, their bodies intertwined, their eyes vacant yet aware. Their skin carries the paleness of memory, their movements reflect a slow ritual of attachment and detachment. Only a flash of red — shoes, stockings — interrupts the muted palette, like a sudden heartbeat inside stillness.
These works speak of motherhood, burden, and the continuity of generations. They are as much about protection as they are about the melancholy of holding on. The characters appear staged, yet their emotion is raw; They are relics of intimacy caught between resignation and grace.
Carnival of Chaos
In another corner, the world explodes into color. The green backgrounds vibrate with surreal energy, as hybrid bodies merge with toys, masks, and remnants of childhood. Here, Hussein’s sense of irony surfaces, life as a carnival of contradictions, where laughter and pain wear the same costume.
The human form becomes elastic, layered, and densely populated with symbols. Innocence collides with monstrosity, suggesting the psychological weight of modern existence. These paintings are mirrors of how memory distorts and reinvents itself to survive.
Fragments of Humanity
On the main hall at the entrance of the gallery, an assembly of portraits reveals the full emotional register of Hussein’s universe. Faces bloom and collapse, lovers dissolve into one another, mothers cradle ghosts, and eyes look both inward and beyond. The variety of scale and technique creates a rhythm of intimacy and distance like a chorus of souls whispering in different languages, yet sharing the same silence.
The paint is thick, expressive, layered with scars and tenderness. Each brushstroke feels like an act of excavation digging through the surface to uncover the emotional sediment beneath. Hussein’s figures are not beautiful in the classical sense; They are beautiful in their vulnerability, their truth, and their survival.
A Vision Beyond Time
In Just VisionsSinan Hussein invites us into an evolving conversation with the self, between the seen and the unseen, the past and the present. The figures, at once ancient and contemporary, remind us that the human spirit continues to reinvent itself, even amid displacement.
Each painting is both confession and myth, both wound and wonder. What remains, beyond all transformations, is the gaze of the artist, and ours, meeting halfway between memory and vision.
