Laila Kassab (B. 1985, Rafah, Gaza)
Colored pencil on paper, 28 x 20 in.
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"The Queen of the Night and Liberation appears before us with half her face, draped in her flowing purple hair that flows like a river of ornate silk fabric. From this enchanting river, flocks of white and gold doves of peace flow, like liberated thoughts or flying messages of hope. The doves head toward a deep purple house framed by geometric patterns reminiscent of the art of folk embroidery, through its small window. It is the moment the Palestinian dream emerges from the silence of femininity into the space of freedom, carrying a message of joy and return to every home." — artist Laila Kassab

Laila Kassab (B. 1985, Rafah, Gaza)
Colored Pencil on Paper, 28 x 20 in.
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"I don't know which land will gather our scattered parts, oh homeland, but I await you with abundant hope, and with great patience I await you... at every moment of the universe's life. I await you." — artist Laila Kassab

Laila Kassab (B. 1985, Rafah, Gaza)
Colored Pencil on Paper, 20 x 28 in.
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"This painting is inspired by the Palestinian journalist Shireen Abu Akleh, a symbol of truth and the voice of the oppressed. It portrays a woman in a purple dress radiating dignity and calm, surrounded by a world of flowers and butterflies—symbols of life and beauty that she defended through her words and her lens.

The butterflies flying around her embody freedom and a pure soul, while the shattered window behind her, dripping with blood, represents the harsh reality and the price she paid for truth. Yet, her hand reaches out toward a colorful butterfly, as if to say that hope is stronger than bullets, and beauty outlives destruction.

The painting weaves together the symbolism of loss and pain—through the cracked wall and blood—with the symbolism of continuity and immortality—through the flowers and butterflies. It affirms that Shireen did not truly depart, but rather transformed into an eternal symbol of freedom and justice."
— Artist Laila Kassab

Laila Kassab (B. 1985, Rafah, Gaza)
Colored Pencil on Paper, 20 x 28 in.
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"This painting carries a deep symbolic essence, where handprints intertwine with fetuses in different stages of formation, as if crying out to the world for the right to life from the very first moment of existence.

The vivid colors—especially pink, yellow, and blue—reflect a mixture of hope and pain, while the fetuses appear inside circles resembling wombs, surrounded by shapes and outlines that resemble maps, symbolizing that life and birth are a universal human issue that transcends borders and geography.

The human hand in the painting seems like a living witness or a cry against violence and wars that threaten the future of generations. The partially visible globe serves as a reminder that this struggle for life is not confined to one place, but rather an existential issue for all humanity. In short, the painting is a visual cry for the innocence of unborn children and their right to live in peace, despite the destruction, betrayal, and wars surrounding them." — artist Laila Kassab

Shareef Sarhan (B. 1976, Gaza City)

Acrylic on canvas, 30 x 35 cm.
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Urban density transforms from a visual scene into a testimony to the fragility of civilization. The clustered houses at the bottom of the composition are not merely symbols of shelter and dwelling, but images of the congestion that suffocates space and compresses memory. Yet amid this overcrowding, letters and colors emerge as a form of breath — colors signify homeland, and letters embody memory.

By returning to the origins of writing, when the Arabic letter was drawn without dots, meaning opens to infinite possibilities — each viewer can read it in their own way. Thus, the houses become letters, and the letters become the echo of the city, as if architecture itself were inscribing its own text upon the sky.

Here, the letter is not just a visual gesture but a narrative — and the narrative itself becomes a letter. In the fusion of script and city, of concrete and character, a profound question arises: can modernity grant us a homeland unscarred, or does every crowded structure give birth to a sky heavy with wounds?

In these paintings, the letters become mirrors of urban life. The clustered houses at the base of the composition not only reflect the density and constraint of urban space but visually transform into ascending letters — as if the architecture itself were writing its story into the heavens.

Shareef Sarhan (B. 1976, Gaza City)

Acrylic on canvas, 93 x 50 cm
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Urban density transforms from a visual scene into a testimony to the fragility of civilization. The clustered houses at the bottom of the composition are not merely symbols of shelter and dwelling, but images of the congestion that suffocates space and compresses memory. Yet amid this overcrowding, letters and colors emerge as a form of breath — colors signify homeland, and letters embody memory.

By returning to the origins of writing, when the Arabic letter was drawn without dots, meaning opens to infinite possibilities — each viewer can read it in their own way. Thus, the houses become letters, and the letters become the echo of the city, as if architecture itself were inscribing its own text upon the sky.

Here, the letter is not just a visual gesture but a narrative — and the narrative itself becomes a letter. In the fusion of script and city, of concrete and character, a profound question arises: can modernity grant us a homeland unscarred, or does every crowded structure give birth to a sky heavy with wounds?

In these paintings, the letters become mirrors of urban life. The clustered houses at the base of the composition not only reflect the density and constraint of urban space but visually transform into ascending letters — as if the architecture itself were writing its story into the heavens.

Maysa Yousef (B. 1984, Gaza City)
POSTER, High Resolution

(from Alice in Palestine series)

Original was Collage, Acrylic, 50 x 50 cm
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"Inside the city are walls full of stories... and poems behind the door.... the ancient city of Jerusalem... it takes us to astonished world... I wish I was a more close neighbor to a door that I can visit you... I wish I had a magic drink and a magic cake that takes us to your world whenever I want... The heart of the city is a wish and a dream."— artist Maysa Yousef

Maysa Yousef (B. 1984, Gaza City)
POSTER, High Resolution

(from Alice in Palestine series)

Original was Collage, Acrylic, 80 x 60 cm
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"Our visit is short, nothing but the sea... Can we dive into the depths and find a home here by chance... It seems quiet, it seems far from the noise... It seems dark... A short visit, maybe we will find what we are looking for from a homeland here in the depths." — artist Maysa Yousef

Maysa Yousef (B. 1984, Gaza City)
POSTER, High Resolution
(from Alice in Palestine series)

Original was Collage, Acrylic, 2 x 1.5 m
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"The sea has a special atmosphere. We sit on the beach and bring back memories. The boats falter, taking us to the world of dreams, where calm and tranquility... and the dreams we live and hope to achieve. We release our imagination and freedom of thought in search of peace." — artist Maysa Yousef

Maysa Yousef (B. 1984, Gaza City)
POSTER, High Resolution

(from Alice in Palestine series)
Original was Collage, Acrylic, 2 x 1.5m

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"We live most of our time in dreams... we dream of everything that is impossible to achieve on the ground. We dream of the future. Improving the living life. Traveling... moving freely in the country... in safety and stability... with calmness and drinking a cup of coffee... in fun. In our spare time... we ignore the time that passes and passes by and we are still dreaming." — artist Maysa Yousef

Yazid Altalla (B. 1992, Syria)

POSTER, High Resolution
original was Acrylic on Canvas

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"Set against a deep red background symbolizing the blood and sacrifice that have marked Gaza’s enduring struggle, the word “غزة” emerges in bold Arabic calligraphy, painted in shades of blue. This blue evokes the spirit of Gaza—its closeness to the sea, its vast resilience, and the calm strength that persists beneath turmoil. From within the word rises a white dove of peace, pure and luminous, breaking through the crimson field as a symbol of hope and the unyielding yearning for freedom. The contrast between red, blue, and white transforms pain into promise—an image of a wounded city that still dares to dream of peace." — artist Yazid Altalla

Yazid Altalla (B. 1992, Syria)

POSTER, High Resolution
original was Acrylic on Canvas

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"The artwork harmoniously intertwines nature and culture to express a profound sense of belonging. Against a deep navy backdrop symbolizing depth, resilience, and history, a graceful olive branch—laden with its leaves—descends in vibrant shades of green, representing peace, endurance, and the timeless spirit of the Palestinian land. Beneath it, elegant Arabic calligraphy flows like the roots of the tree itself, weaving heritage into form and rhythm. The meeting of calligraphy and olive speaks of identity grounded in tradition yet reaching upward in hope—an everlasting dialogue between the land and its people."
— Yazid Altalla

Yazid Altalla (B. 1992, Syria)

POSTER, High Resolution
original was Acrylic on Canvas

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"The painting embodies a poetic dialogue between land, language, and identity. Upon an earthy brown background symbolizing soil and belonging, scattered Arabic letters gently converge to form the phrase “متجذرون هنا”—We are rooted here. From these letters sprout olive branches, their tender leaves and winding stems symbolizing endurance, faith, and the eternal bond between the people and their land. The fusion of calligraphy and nature creates a living landscape—where words become roots, and roots become a promise of steadfastness and love for the homeland." — Yazid Altalla

Laila Kassab (B. 1985, Rafah, Gaza)
Colored Pencil on Paper, 20 x 28 in.
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"This is not a woman sailing in a boat — it is the spirit of Palestine herself, refusing to rest upon the shores of oblivion. Look at her, as if she were the first Eve, rowing with an oar carved from patience, carrying eternity upon her shoulders. Her hair flows like a long, wandering night over the seas, and her eyes are closed from the fatigue of days — but she is not asleep… She is simply holding within her memory the rosy, ancient walls of the city that flicker behind her in the light of a lonely moon — like a lantern that never fades in a heart forced to wander. As for the strange green fish, they are not mere sea creatures; they are returning souls — our descendants born in exile, yet carrying the scent of oranges in their very genes. They swim around her as if guarding her, rise upon the high waves like defiant flags declaring: "They expelled us from the land, so we made the sea our path... We are coming back, returning — for homeland is not just soil one leaves behind, but a secret that never dies in the depths of the soul." This is a painting about forced migration that has transformed into an eternal promise of return. She is a woman holding the reins of her destiny, telling the raging waves:
"We will not leave you, my homeland — even if we must bring you back in the boat of a dream."" - Artist Laila Kassab

Diana Alhosory (B. 1988, Gaza)

POSTER, High Resolution

Original was Water Color on Fabriano Paper

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"These are a series of drawings I created to study the landscape of the West Bank, particularly after my return from a trip to the other part of the country. You can refer to my work Road Trip for a deeper understanding of the concept."

-Diana Alhosory

Diana Alhosory (B. 1988, Gaza)

POSTER, High Resolution

Original was Water Color on Fabriano Paper

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"These are a series of drawings I created to study the landscape of the West Bank, particularly after my return from a trip to the other part of the country. You can refer to my work Road Trip for a deeper understanding of the concept."

-Diana Alhosory

Basel El Maqosui (B. 1971, Gaza City)

POSTER, High Resolution

"I didn't give each work a title; they are a collection under this title and text:

These are neither paintings nor artworks that we create for collectors or art enthusiasts to acquire or view. These are pieces of our bodies scattered with the shrapnel at every moment of bombardment, accompanied by the most disturbing sounds, emerging from the mouths of cannons and the missiles falling from the sky onto our homes, causing our bodies to scatter along with them. They are our screams that emerge and hurt our throats. They are made of coal, ink, and colors shaped by our blood. They are the smiles of our children that vanished along with their schools in a time that is neither theirs. They are love, lived, at a time of war. And I am certain that love dispels fear. 

I do not paint a picture of war—journalists can capture that with their cameras. My paintings are a longing for a kiss and an embrace. They are light that fills our hearts. They are testament to a genocide. They are our concerns during displacement and the anxiety of moving it from one place to another, and the fear of it, as if it were a family member. 

Will we survive to present this work and witness you contemplate it? If I am among you then I am brave, and if I am not, then I am a martyr in my last art residency."  

-Basel El Maqosui

2023-2024-2025

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Basel El Maqosui (B. 1971, Gaza City)

POSTER, High Resolution

"I didn't give each work a title; they are a collection under this title and text:

These are neither paintings nor artworks that we create for collectors or art enthusiasts to acquire or view. These are pieces of our bodies scattered with the shrapnel at every moment of bombardment, accompanied by the most disturbing sounds, emerging from the mouths of cannons and the missiles falling from the sky onto our homes, causing our bodies to scatter along with them. They are our screams that emerge and hurt our throats. They are made of coal, ink, and colors shaped by our blood. They are the smiles of our children that vanished along with their schools in a time that is neither theirs. They are love, lived, at a time of war. And I am certain that love dispels fear. 

I do not paint a picture of war—journalists can capture that with their cameras. My paintings are a longing for a kiss and an embrace. They are light that fills our hearts. They are testament to a genocide. They are our concerns during displacement and the anxiety of moving it from one place to another, and the fear of it, as if it were a family member. 

Will we survive to present this work and witness you contemplate it? If I am among you then I am brave, and if I am not, then I am a martyr in my last art residency."  

-Basel El Maqosui

2023-2024-2025

‏