Nidal Jabarin’s works of art oscillate from one phase of art to another, wavering between a loose form of Impressionism, and the sick bodies about which he speaks and holds up for discussion, while identifying with their suffering. The bodies look like ghosts rising up from the darkness to invade the silence of the night. It is against this background that his colorful, penetrative works are created, sometimes imbued with a pleasant, aesthetic appearance, at with one that is shocking and horrific at other times, while yet keeping true to the authenticity of his feelings and his devotion to what he does – and all of this from a vindictive and critical perspective on a torpid society that has awakened to a shallow dependence on the Arab experience, importing its content and shirking normative interpersonal human relations.
Cities and landscape are evident in most of Nidal’s works.
The way he depicts them hovers between awareness and intuition, between Eastern and Western culture, between longing for a somewhat intimate city situated in a quiet place, and those packed with churches and ancient buildings graced by artistic architecture that enthralls the eye. He usually positions captivating elements like these in the center of a work, as though this constant presence were proving that he celebrates polar opposites and their unification at the same time, as though he were trying some way of transforming the urban presence into a foundation, the focus of everything revolving around him and that is a part of him. Perhaps this is his way of compensating for the absence of Western aesthetics. He introduces Western elements by merging Western attire into the Eastern landscapes he weaves, or uses Western language, techniques and climate to paint Eastern landscapes. The gradual transformation of technique and structure in Nidal’s work, results kin a construct of orchestral musical notation – like an enriched, synchronized musical score, which alternately disassembles and builds the work of art in accordance with methods of deconstruction.