In all of Koshaji’s work there is a definite sense of loss; missing places and spaces being filled with something alien. Silhouettes of people with no definite form get filled with strange patterns and shades that don’t quite fit their shape and are positioned against an abstract, and often conflicting, backdrop. The inverse of this is also true with pieces that show familiar shapes or simple outlines seeming to want to wrap themselves around something else in order to find shape. Through a unique use of collage style layering different materials and techniques the mix and inform one another to become something both reminiscent and frightening in equal measure.
A recent shift to portraits from landscapes, something regularly produced previously by Koshaji, has forced the artist to explain his reasons behind his output’s currently preferred form; he recently explained that it is; ‘an attempt to rebuild what has fallen of Syria and to bring back his now sad memories, some light and happiness once again by placing vivid colours of hope amidst his confusion and despair to every stone fallen from every home.’
This idea of building and reconstructing memories as an artistic process is very literally translated in the end result; each piece often appearing to be formed of smaller images and vignettes arranged in a patchwork fashion which in itself speaks of an almost childlike longing for something lost, a block building approach to solving a very deep rooted need for some sort of semblance and normalcy in an otherwise chaotic sense of self. This particular aspect of line and grid based structure is most likely due, in no small part to his Arabesque heritage and studies as a graphic designer in a predominantly Muslim culture and society.
With a search for happiness obvious in Koshaji’s work it, ironically, highlights the unmistakable sadness and grief of Syria and its people. Although it is a country sitting in the middle of a devastating chapter of it’s history, that nobody would wish on any other nation under any circumstance, we are very lucky to have open minded and honest artists like Koshaji that are willing to act as our go-between, our inside reporters and eye witnesses that provide the purest form of insight that would otherwise go unnoticed had they chosen not to pick up a paintbrush.