TEHRAN- Art has long served as a powerful medium for capturing the deepest human emotions, bearing witness to tragedies, and expressing the suffering of marginalized communities. In the ongoing Gaza genocide, artists around the world have taken to canvas, paint, and digital media to convey the experiences of those caught in the crossfire. 

Paintings depicting bombed buildings, grieving families, and children lost to violence have emerged as poignant symbols of resilience and sorrow, offering a visceral glimpse into the lives of Gazans. These artworks transcend language, bringing international audiences face-to-face with the brutal reality of life under siege and allowing viewers to empathize with the pain and trauma endured by Palestinians.

The role of painters in this crisis extends beyond artistic expression; they have become cultural historians and advocates for human rights, challenging the distorted political narratives of the Zionists through the language of color and form. Global artists, from Gaza itself to distant countries, are using their craft to shine a light on what many view as an unfolding humanitarian catastrophe. Their work amplifies the voices of those silenced by war, resonating across borders and igniting conversations on social media and in galleries worldwide.

Each painting tells a story: the story of the lifeless bodies of Gazan children in the hands of their parents, destroyed houses, and dreams shattered by the relentless rain of Israeli and American rockets. 

The vibrant colors and stark contrasts in their artwork often evoke a deep emotional response, drawing the viewer into the tumultuous experiences of those living in one of the most besieged regions in the world. Red is the color that the child-killing regime of Israel has splashed onto the canvas of the life story of the people of the Land of Olives. 

Maram Ali, a visual artist born and raised in Jordan, is one of the painters who has dedicated her canvas and colors to depicting the suffering of the people of Gaza and the actions of Israel since October 2023. Ali's painting about Yahya Sinwar and his martyrdom was one of the works that received significant attention. The Tehran Times conducted an exclusive interview with Ali, which is presented below:

What motivated you to feel a sense of responsibility towards Gaza and the ongoing genocide?

What drives me to paint for Gaza is, first and foremost, my humanity. I am human before anything else, and as a Palestinian refugee, I feel an even deeper connection to the suffering of those in Gaza. However, I do not need to be Palestinian to feel the pain of people experiencing such immense hardship, nor do I need to be Palestinian to understand the horror of genocide. This is not just about identity; it’s about empathy and a sense of responsibility.

When the war on Gaza began, I put aside my previous work—portraits, landscapes, still lives, and romantic scenes—and focused entirely on painting for Gaza. I realized that my role as an artist is to be a witness and a keeper of memory. I know that the Israeli occupation seeks to erase the memories, cities, homes, and lives of the people there. My brush, my colors, and my canvases have become a way to resist that erasure.

I believe that the people of Gaza have the right to exist in this world, the right to their land, and the right to their stories. This sense of justice compels me to paint, speak the truth, and stand with the right people and the right cause. Right now, I cannot imagine painting anything else because this is where my heart and moral responsibility lie.

When did you start working as an artist, and how did you begin? Do you remember your first piece of work? What was the subject?

I remember my very first attempts at making art so vividly. I was just three years old, with a little garden in front of my house—a lemon tree, sparrows flitting around, and the open sky above. I felt such a strong urge to capture that scene, even at that young age. I remember painting that same view every day, adding a little more detail each time. One day, I saw an incredible sight: a huge number of birds flying together across the sky, migrating as the seasons changed and winter approached. I did not fully understand it then, but I felt a mix of wonder and worry. I was worried for the birds, wondering if they would be safe and if I’d see them again. I thought I might miss them for months. That view and feeling stayed with me, and I painted it many times, trying to capture both the beauty of their journey and the sense of longing I felt as I watched them go.

Could you explain a bit about your painting style? What influenced your choice of style? Do you find it effective in conveying emotions?

My style in painting is impressionistic, but it was not something I chose intentionally. It developed naturally over time. I experimented a lot, painting in different styles and studying countless works of art every day—through the internet, magazines, art books—absorbing everything my eyes could take in. I let myself feel each painting I encountered. Over time, I found myself drawn to impressionism because it allowed me to express more than just a scene; it allowed me to paint emotions, to capture the feeling behind the view. In a way, it feels like I did not choose impressionism—it chose me. This style lets me bring out the emotional layers of my subjects, and at this point, I feel I truly belong to the impressionistic school.

How do you believe art, particularly painting, can serve as a medium to depict the suffering of the oppressed people in Palestine and communicate this sorrow to a global audience?

I believe that art has a unique power to evoke deep emotions and connect people on a human level. When art is honest and genuine, it can capture pure feelings and resonate with viewers in profound ways. However, I often think about the suffering of the people in Gaza, and I feel it goes beyond what any piece of art can express. The reality of their situation is so intense and heartbreaking that it is hard to compare it to anything else. When we see images and videos from Gaza, the raw emotions captured in those moments are unlike anything created in a studio. Those images convey a real, visceral suffering that no painting or artwork can fully encapsulate. 

So, while I hope my art can raise awareness and evoke empathy, I know that the true power of their suffering comes from their lived experiences. My goal is to honor that reality through my work, conveying their feelings and struggles as best as I can, even if I know it can never fully match the weight of what they endure.

Have you ever received any particular comments or reactions to your artworks related to Palestine that have inspired you to continue your artistic journey?

Yes, I have received a positive response to my paintings about Gaza. People generally interact with my artwork in a very meaningful way, and it’s incredibly rewarding to know that they feel my art.

However, what means the most to me is the reactions and emotions I receive from the people of Gaza themselves. Despite being under occupation and facing unimaginable hardship, they still have the capacity to express love and appreciation for my art. Their responses resonate deeply with me and remind me of the strength and resilience of the human spirit, even in the darkest times. It is a powerful reminder of why I paint.

Among the paintings you have created for Palestine, which one is your favorite, and what emotions does it evoke in you?

One of my favorite pieces that I have painted about Gaza is a small work that captures a powerful moment. It depicts people praying during Salat al-Tarawih, a special night in Ramadan, just before Eid. They were gathered around a bombed mosque, with no structure left standing; yet, they still found a way to pray around it. This scene resonates with me deeply, evoking a sense of hope and togetherness, even amidst the devastation. Painting it brought me a lot of joy and emotion, as it reflects the strength of their spirit and their resilience in such difficult times.

What kind of impact do you hope your paintings will have on viewers, and what emotions do you aim to evoke in them?

When I think about the impact, I want my paintings to have regarding Gaza, I must admit that it is challenging. In a situation where genocide is occurring, it is hard to see the importance of anything we do as artists. It feels morally wrong to continue with our lives while people are suffering and dying. I believe everyone should speak up and contribute in their own way to bring attention to these atrocities. 

I want to use my art to remind people about Gaza and the ongoing suffering of its people. It’s essential to keep their stories alive in our collective memory. I also hope to inspire others to be proactive and to make an effort to impact the world in whatever way they can. That sense of responsibility is crucial, especially when facing such overwhelming violence and suffering. However, I struggle to see how any art or action can create a significant impact while genocide continues. It feels almost futile in the face of such devastation. I think we can only talk about real impact once the genocide has ended and we can begin to heal and rebuild. Until then, my focus is on raising awareness and honoring those who are suffering.

AH/SAB