With a performance related to an installation, as well with 45 new paintings; Qais Al-Sindy, will display his canvases on the walls of Orient Art Gallery in Amman. In this performance The Licorice juice, Al-Sindy explains his experience during the era of the economic embargo on Iraq. In his editorial article about the exhibition- Possible Scenes of a Personal Paradise- Art Critic Saad Al-Qassab enlightens: Humanity shares several common dreams; one of them is the dream of paradise, which at most we hope will be our second destiny or alternate existence. It’s not an illusion, in our nature; we have created it with objective ends.

The artist Qais Al-Sindy realizes that such matter could be achieved in this time, especially being an immigrant or exiled from his homeland to a world he named “The world beyond the seas”. He is not alone, yet, he is accompanied by epithets which he carries with him to alternate lands. Thus, looking to paradise is like looking to a different present unlike the current one. Paradise is almost a constant peregrination and not the final resort. Al-Sindy knows that paradise could not be the compensation of a loss; it’s the complement of our existence. The artist will satisfy only by getting the summary for this multiple meaning, when he establishes a unique relationship that considers the place a given aesthetic subject to astonishment in order to find and re-explore it and live close to it. One of the artist’s specifications is to create familiarity with the world.

Places will remain as a function of the expression. They are fields fraught with incidents, episodes, tales, scenes, things, people, and they’re humane with their transformation. There is a vision that seduces the other by itself. Hence, the act of seeing would be a style to discover of the secret of this seduction. Al-Sindy will be occupied with the knowledge of the diverse dominant present of his new world. Yet, it could be paradoxical with the bilateral of his realistic presence: tumults and silence, complexity and simplicity, neutral and passion, violence and peace, uncouthness and intolerance. They are characterization and signs that he exchanges with the other, with his reserve or with things. Places keep some needs in order to infer to.

Each landscape has a probability, an expectation. We desire what we see. The artist inheres this in obviousness his paintings, in order to suggest his personal paradise, His life experience the artist explains by representing his worlds. Voids are not completed. He still generates his features and creates positions that indicate its significance, pointing toward its passionate recess, revealing emotions with nothing but her passion for autism. There is no common nature for this paradise; it’s absolutely private, nothing looks resembles a moment of meditation.

Artist Qais Al-Sindy keeps his shapes belonging to the act of painting, with his elective and openness to an imaginary experimentation. He simplifies his shapes, abridges them from their personifications, donates them characteristics achieved with exclusiveness. He doesn’t care with such creatures, but with the traces they leave behind, with an expressionist and significant participation that disclose their visual kindness, full of their humanity, some secrets of their uncompleted freedom, and their eagerness to be more than mere individualism, to be like their dreams with no fellowships. The Painters are busy with obscure wishes.

Angel exhausted by disappointment, travelers pass through to his foreignness, a woman meditates in her nostalgia, a musician plays in silence, and lovers let down by their confession. Creatures captured with their internal act. Forms are pure but of their essence vision. They are lives of his proposed world. So, we find artist Qais Al-Sindy in his visual experimentation, revealing his profession secrets, about a paradise hidden there, in the remote which is invisible.