Rabie’s canvases blur the line between figuration and abstraction, often presenting ghost-like figures, architectural outlines, and erased gestures. His surfaces are layered with muted tones—washed grays, dusted blues, and raw textures—that evoke the visual memory of worn walls and forgotten spaces. The result is a language of trace and absence, where what is not shown becomes as powerful as what is.

Hussein’s canvases are marked by an expressive figurative style, where the human form is central but never conventional. His palette—dominated by earthy tones and interrupted by quiet bursts of luminous color—reflects a psychological terrain shaped by trauma, survival, and hope. Each painting reads like a visual diary entry, layered with emotion, symbolism, and cultural memory.