Created at the start of my time in Morocco, the series was triggered by a sudden release of tension that broke a long creative block. It consists of 12 paintings—12 portraits of completely different figures: family and friends, random strangers and faces from films and non-existent characters created from archival early 20th-century photographs.

Each time, the subject’s face serves to reveal something more than just a physical resemblance. These are portraits of emotions, fleeting states of mind, and character traits captured on canvas in a moment of inspiration.

Every element of human nature holds a visual dimension for me. Just as sounds form shapes in my imagination, letters carry colors, and scents evoke specific textures, the human soul—understood as the essence of existence—has its own colors. This synesthetic intertwining of sensory stimuli guides me through the entire process.

I usually begin my work by taking photographs, looking for natural, unposed shots captured when the subject does not feel observed. The choice is driven by a sudden flash of inspiration—a moment when I look at someone and already see the finished painting. Guided by intuition and a sense of form, I then select the color palette and background decorations. My goal is to capture the subject’s energy and aura as faithfully as possible through the filter of my own vision.

The method I use relies on contrast, where minimalism in color selection meets maximalism in decoration. I set the realism of the figure against flat ornamentation, strong highlights, and deep shadows. The square format unites the entire series, allowing it to be displayed as a cohesive mosaic.

As an art conservator, I have always looked to the past. Among the many inspirations drawn from old masters, Baroque painting holds a special place in my heart. The works of the Spanish masters—Diego Velázquez, José de Ribera, and Francisco de Zurbarán—evoke the strongest emotions in me.

Yet it is not their official court canvases that feel closest to me, but their intimate genre and religious scenes—like The Waterseller of Seville, Old Woman Frying Eggs, or portrait-like depictions of saints. I am fascinated by the way figures emerge from deep shadows, suspended in quiet contemplation as if captured in a photograph. Key to this effect are the stark contrasts, the precision of gesture and facial expression, and the remarkably powerful, electrifying illusion of the models’ presence.

I translate this fascination into a contemporary language without being literal. A recurring element in my work is the use of theatrical gestures and frozen poses. The focus turns inward to the character’s emotional state, creating an intimate, almost sacred atmosphere and a feeling of a direct, close encounter with the subject.

However, the modernity of these scenes is revealed in the details—clothing, a wristwatch, or a smartphone in hand. The aesthetic aligns more closely with today’s sensibilities: despite the realistic portrayal of the figures, it retains a minimalist quality, while a deliberately limited color palette draws attention to what matters most. Instead of heavy Baroque blackness, the background becomes a smooth, saturated hue radiating light. This approach took shape during my stay in Morocco, where pure color and intense light redefined my thinking about painting.

This series blends traditional Arabic motifs—specifically calligraphy and the headscarf—into contemporary portraiture. By pairing rich textures with intricate detail, the work captures the dual nature of cultural identity, offering a personal tribute to the beauty and complexity of Arabic heritage.