Finding Beauty in the Discarded: The Kumla Junkyard Pieces
I painted the Kumla Junkyard twice, deliberately turning my gaze toward its massive assortment of waste. While many might view a junkyard as something unpleasant, unsightly, or merely utilitarian, I saw it as a complex visual landscape. I was deeply inspired by the unexpected harmony and chaotic interplay of colors hidden within the debris—the rusted iron, weathered plastics, and peeling paint catching the light in ways that demanded to be captured.
Both pieces were created using acrylic on canvas, each measuring 60×80 cm.
Rather than focusing on a literal depiction of trash, my goal was to bring the scene to life by translating the textures and tones of the scrapyard into a vibrant, painterly expression. These works stand as an exploration of how art can find compelling beauty, energy, and form in the most overlooked and unconventional places.
Focus on Humanity: The Gaze of Resilience -
In this portrait of a young boy from a Sudanese refugee camp, I used traditional acrylic techniques layered with rich earth tones to emphasize both emotional depth and human vulnerability. Rather than depicting the physical environment of the camp, I intentionally removed all contextual background elements so the viewer’s attention would rest entirely on the child’s expression, posture, and gaze.
His eyes became the emotional center of the composition — carrying a mixture of uncertainty, endurance, innocence, and quiet strength. Through loose, expressive brushwork and softened edges, I wanted the portrait to feel both intimate and universal, allowing the subject to exist beyond a specific time or place.
The warm reds, browns, and muted blues were chosen not only to reflect the natural palette of the landscape, but also to convey warmth, resilience, and emotional tension. The textured layers of paint mirror the complexity of displacement and survival, while the absence of detailed surroundings invites the viewer to confront the individual rather than the stereotype.
This work is ultimately about restoring identity and humanity to those too often reduced to statistics or labels. By focusing on a single child’s face, I hoped to create a timeless symbol of resilience, dignity, and the deeply personal stories hidden behind the word “refugee.”
Celebrating an Award-Winning Vision: The Story Behind "Blue Green Eyes"
Blue Green Eyes represents an important turning point in my artistic journey. In 2020, the painting received first prize for Abstract Portrait Composition, and in June 2022 it was selected for the inaugural cover of Expressions Magazine. Both recognitions became defining milestones in my career and encouraged me to further explore the relationship between realism and abstraction in portraiture.
In creating this piece, I wanted to capture more than a physical likeness. I focused on the emotional presence of the subject by rendering the eyes with sharp realism and intensity, while allowing the rest of the face to dissolve into expressive textures and fragmented brushstrokes. For me, this contrast reflects the complexity of identity — the tension between what is clearly seen and what remains emotionally hidden or undefined.
Color played a central role in shaping the atmosphere of the painting. I used cool tones of teal, turquoise, and blue against warm skin tones to create both harmony and visual tension. The layered paint and loose brushwork allowed the portrait to feel fluid and alive, almost as if the image were emerging through memory, emotion, or imagination rather than strict representation.
Through Blue Green Eyes, I wanted to invite viewers into a more emotional and intuitive experience of portraiture. The work is ultimately about perception, vulnerability, and human connection — encouraging the viewer to look beyond realism and engage with the emotional essence beneath the surface.
The Pulse of Essaouira: A Market in Motion
The Essaouira Series (Morocco, 2019): Inspired by the history and sensory atmosphere of the medieval town, this section pairs quick, spontaneous watercolor and ink sketches with abstract acrylic pieces. These works move away from literal representation to translate the radiating heat, chaotic rhythms, and coastal light of the Medina through a balance of fluid washes and thick, textured strokes.
Quiet Radiance
In this large-scale acrylic portrait, I aimed to capture the spirit of my friend Hanna Dejene and the warmth of the connection we shared in Addis Ababa. Working on a 100 × 100 cm canvas allowed me to move beyond simple likeness and instead explore emotion, presence, and memory on a more immersive scale.
I used a bold, expressive palette of vibrant blues and earthy oranges to reflect her unique energy and the emotional depth of our time together. The interplay between cool and warm tones creates a sense of balance and movement, suggesting both calmness and vitality within her character.
Through thick, textured brushwork, I introduced a physicality to the surface that catches light and brings a sense of immediacy and life to the portrait. These layered marks preserve not only her image, but also a fleeting moment of shared experience and place.
Ultimately, this painting stands as a living memory — a tribute to a meaningful friendship that continues to stay with me long after returning home.
A Time I Couldn’t Escape
I painted this when everything felt unbearable. I remember feeling stranded in hell, stuck in a place where time didn’t move and hope felt distant. The paint went on heavy, almost violent. I didn’t plan anything—I just needed to get the feeling out of my body. Each layer holds anger, fear, and exhaustion. I wasn’t searching for beauty or meaning. I was just trying to breathe. Looking at it now, I see proof that I survived something I didn’t know how to name at the time.
My First Experiment with Acrylic Pouring
My First Experiment with Acrylic PouringI painted this piece using an acrylic pour technique; I was testing the medium just to see the effect. It is impressive that this was a test of the medium, as the results show a great deal of control over the fluid’s behavior
Caricature samples
Caricature Art & Satire
I have a deep appreciation for caricature art, particularly the political kind. I enjoy how these artworks exaggerate features and expressions to highlight the personalities, power dynamics, and even the flaws of political figures. The way they use humor and satire to comment on current events or political situations is something I find both thought-provoking and entertaining. Over the years, this passion has allowed me to share my work with a broader audience, with several of these caricatures being published in the Swedish newspaper Kuriren, Awraq weekly magazine, and the Örebro University magazine.