This article appeared in Being Serwan Baran Issue #69 dedicated to tackling the journey of Serwan Baran, an Iraqi artist who transforms the brutal realities of war and human suffering into visual narratives. Born in Baghdad in 1968 and shaped by his experiences as a soldier, Baran’s work is rich with authenticity and emotional depth. His art reveals a complex psyche and a deep connection to the human experience. Through dark, brooding canvases, Baran explores themes of pain, resilience, and hope, urging viewers to confront uncomfortable truths while embracing our shared humanity.
Issue #69 ‘Being Serwan Baran’
30 Seconds Out of Time
30 Seconds Out of Time, 2021, by Serwan Baran captures a harrowing moment of bravery and tragedy. This large-scale acrylic painting, measuring 200 x 253 cm, depicts firemen in their vivid red uniforms rushing into the infamous Warehouse #12, situated at the Port of Beirut, just moments before the devastating August 4th, 2020 Beirut explosion. The gestural chaotic brushstrokes and intense colours evoke a sense of urgency and peril, drawing the viewer into the midst of the action. Baran’s style in this piece is reminiscent of Francis Bacon’s visceral intensity, characterised by distorted and emotionally charged figures. The firemen, with their faces obscured and bodies caught in frantic motion, are set against a backdrop of an apocalyptic aftermath of the explosion. The use of acrylic paint, as a thick and fast drying medium, mirrors the urgency of reporting the deadly incident in a raw and expressive manner.
This artwork not only commemorates the bravery and sacrifice of the firemen who perished in the explosion but also serves as a poignant commentary on the fragility and heroism inherent in such tragedies. Baran’s ability to translate profound emotional and historical experiences into his work is evident in the haunting imagery and deep sense of loss conveyed in 30 Seconds Out of Time, 2021. The piece stands as a powerful reminder of the lives lost and the resilience of those who face unimaginable dangers in the line of duty.
Fidel Castro
Fidel Castro, 2016, is a compelling acrylic painting that immortalises the iconic revolutionary Cuban leader, who served as the Prime Minister of Cuba from 1959 to 1976, and President from 1976 to 2008. Spanning 208 x 173 x 4 cm, the artwork presents Castro in a contemplative, yet authoritative pose, combining elements of realism and expressionism. Here, Castro is depicted in his signature military uniform. Baran’s application of earthy tones of ochre, brown, and green, in textured brush strokes lends a tactile quality to the painting, emphasising the ruggedness of Castro’s attire. The hazily painted background, as if the artist has concealed Castro’s historical past and erased his reigning seat, contrasts sharply with the detailed portrayal of Castro. This contrast draws attention to his reflective expression and commanding presence. Still, Baran chooses to register the year that marks Castro’s rule, 1959, as a historical commemoration.
This piece showcases Baran’s fascination with historical and political figures, blending personal reverence with a nuanced socio-political commentary. The muted, almost monochromatic palette enhances the sombre, introspective mood of the portrait, capturing a moment of quiet reflection in a life defined by dynamic action and revolutionary fervour. The painting’s rich visual texture and emotional depth are hallmarks of Baran’s ability to convey the physical and psychological weight of his subjects. Fidel Castro, 2016, stands as a powerful homage to a pivotal historical figure, inviting viewers to consider the enduring impact of his revolutionary ideals and leadership.
Bourak
Serwan Baran’s painting depicts a mythical creature called Bourak in Arabic, featuring a human head, horse’s body, and colossal wings, poised for ascent. The well-defined legs and hooves, open wings, and arched legs suggest imminent flight, while its robust build indicates readiness for the journey. Seemingly, a woman lies on the back of the centaur, her legs fuse with the creature’s tail, symbolising a shared journey. The word 3arrij , meaning ‘to limp’ in Arabic, is softly embedded in the upper central part of the painting’s pale background, adding an extra sense of symbolism. Baran’s fearless use of fiery red and black against the pale, off-white background enhances the dynamic and paradoxical nature of the artwork. The work blends serene spirituality with aggressive action.
The Iraqi-Kurdish artist frequently uses controversial mythological and animal figures to explore the human condition. Bourak, 2015, is inspired by Prophet Mohammad’s celestial journey, during his Isra and Mi’raj, where he flew from Mecca to Jerusalem and up through the heavens and back by night. Baran’s integration of deformed and fused bodies, gender, nature, and mortality, presents a surrealist scene reflecting existential angst. Bourak, 2015, rife with contradictions and layered meanings, showcases Baran’s evolution from realism to expressionism; it epitomises a holy experience intertwined with irony through contrasting symbols.
