Enamel, Latex paint, and Urethane on Panel Narcissus is caught in his self-absorbing thoughts, gazing into the still and clear water and seeing his reflection. Lost in contemplation, he stares and stares as the surface remains unaware, a perfect mirror of his reflection or a deceptive force drawing him into obsession. We witness the moment of looking. Again, the water is central to this scene, a source of beauty and danger. He loses touch with reality, consumed by self-perception, as he gazes into infinity and awaits his resurrection.

William Okaily

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I offer a visual symphony where each artwork is a distinct melody within a larger harmonic framework. The common formal themes—the vibrato of the line, the polyphony of textures, the deliberate arrangement of space, and a color palette that shifts from the delicate whispers of woodwinds to the bold fortissimos of trumpets—compose the elaborate orchestral arrangement of my practice. Each piece emerges as a haptic concerto, deeply anchored in the concrete reality of its medium, engaging in a sensory exploration that echoes with both spiritual transportation and audible presence. I approach my artistic practice as an act of optimism, rooted in the belief that abstraction unveils the nuanced beauty of our world. Each artwork invites pause and reflection, encouraging appreciation of the grandeur in the granular. Like a musician meticulously molding complex harmonies into a singular, sonorous note, I distill visual complexities into their essence, transforming each piece into a meditative experience. The unique properties of each medium I employ—oil’s intrinsic fluidity in The Painting of the Koimesis, the richness of gouache in Les Aiguilles de Zola, and the tactile crackling of thick latex paint in Encounter (Brim)—play a crucial role in this process. Experimentation with structure versus organic freeness fosters a dialogue between my control and the paint's inherent agency, enhancing each painting's dual nature as both image and object. This methodical reduction prompts me to step away from 'seeing the bigger picture' only to reconnect with it through the most delicate and intricate strokes. Embracing Jessika Khazrik’s notion of the "in-disciplinary" artist, I engage with painting in a traditional and disruptive manner. Each piece embarks on a journey, exploring the realms of sculpture, installation, and performance before returning to the canvas—renewed and enriched. This cross-pollination extends beyond the visual arts, drawing from the rich reservoirs of literature, philosophy, and history. These disciplines enrich the narrative depth, deepen the conceptual inquiries, and contextualize the themes of my work, collectively challenging and expanding my experimental boundaries. My master's thesis exhibition, Why Did You Bring Me Here?, exemplifies this approach by presenting a simulated museum installation that bridges Lebanese discourse with the contemporary landscape of the United States. In this exhibition, artifacts carrying Lebanon's collective memory and identity are transformed through a science fiction portal, interrogating national and cultural identity, oral histories, and the mutable nature of truth. This installation creates a space for dialogue and reflection on the power of museums to frame history. The fusion of diverse intellectual traditions propels my artistic endeavors and enables a continual reinvention of my expressive vocabulary, ensuring that each creation resonates with contemporary and timeless dialogues.