After the October uprising, the port explosion, and the pandemic outbreak, Chamoun gives us a breather, a chance to look up and away from the disaster site, which has lost all its colors while trying to escape the violence directed at the body of the city. For instance, if the colors in the painting are reminiscent of the sea, then that is where you will be transported, and these colorful scenes have neither a beginning nor an ending; color becomes a source of life in this existence. 

Chaouki Chamoun’s compositions are ever-growing, and so are his abstractness and sensitivity. The result is a symphony of colors that call upon our most refined senses and spontaneous faith as well as feelings of love in tragic times, all in a chromatic structure that evolves beyond limits, in favor of the chromatic entity itself.

While it’s true that Chaouki Chamoun’s works are a series, every time you look at them, you interpret them in a new language. There’s always a new timeless language where the rules are deconstructed and then reshaped.

In fact, we can distinguish two main languages in Chaouki Chamoun’s works: one which is abstract, characterized by a strength of color and control over the composition, and another where the painting is an independent social entity. In fact, color here becomes the positive space, while also filling the negative space that represents the emptiness of the city. It acquires an instinctive and sensitive value, its language replacing all other languages.

Chaouki Chamoun’s never-ending experience is notorious and valuable. His artistic value is rooted in deepness. It tackles new ideas and is expressive in its diversity and uniqueness. He dances in and out of different stages, painting a Lebanon of the future, where the presence of art in the face of danger is peaceful and non-conflicting.