Mahmood Al Daoud

Born 1987 in Homs, Syria
Lives in Damascus, Syria

Mahmood Al Daoud obtained a License in Plastic Arts from Aleppo University in 2011. Throughout his career as an artist, he has held the following solo exhibitions: “Queens” at Tajalliyat Art Gallery (Damascus) in 2017, “In the Emptiness” at 392rmeil393 Gallery (Beirut) in 2013 and “Visual Sensations” at The Art house gallery (Damascus) in 2012.

For Mahmood Al Daoud, painting represents the struggle to get an inner-concept onto the canvas. He experimented with painting on paper in turn developing a technique of color-mixing without the need of the traditional brush strokes and then started applying it to canvases.

In his works, Mahmood Al Daoud always endeavored to create unique colors in all their possible shades so that they would communicate to the viewer as the general sphere of the painting. In addition to the richness of colors, he also searches for a variation of shapes and different layers to give the painting the feel of a world with multiple dimensions.

Each stage of the painting springs out from a certain concept. One of these is the weight of human figures which are full of different emotions that weigh them down resembling rocks. Eventually those different feelings affect different representations of the figures or characters in the paintings. Finally, he is always developing and changing his work processes, always experimenting as not to get stuck in one direction.

Artist’s statement

My main aim during the most recent part of my career has been to focus on the notion of space in the artwork. I study its dimensions in relation to abstract elements and its position within these, then the relationship between this entity and the static nature. Together, this relationship constitutes a texture in my head, and creates a vision of how the elements of my painting integrate into the space, and their compatibility with the air and dimensions of this space.

In my new pieces, I study the relationship between lines and space, and how they converge with moving elements. Inside this construct, the mobile elements depend on the movement of the air until they fully emerge from the frame and join the previously ignored external space.

The existence of a coherent element in the painting which takes over the surface symbolises the accepted, unstable existentiality which, through constant movement, emerges from a silent background space, and which combines with it to occupy a larger area full of animated movements alongside existing elements.