The Syrian painter, Muhammad Saeed, who was forced to migrate to Idlib due to the civil war in Syria, explains the details of his struggle and struggle for survival and the details of the lives of civilians living in primitive tents in refugee camps through his unique artworks made of sand.
Saeed had to endure unimaginable heartbreak to leave his home in Maarat al-Nu`man, also known as Maarat, 15 months ago. Moving to Idlib, the artist decided to develop his skills in drawing and painting the struggle of his people through sand painting, which is the art of pouring colored sand to make a fixed or non-static artwork.
This technique is used by different cultures around the world, and it is often ritual paintings intended for religious ceremonies. One of the most famous examples is the Tibetan Buddhists, whose sand paintings are usually used to create mandalas, which are geometric formations of symbols. The mandala takes several days to build, and it is destroyed shortly after its completion.
Saeed learned sand painting techniques from the social media platform YouTube, and for nearly a year he has been telling the emotional story of Bashar al-Assad’s forces’ attacks on his town and civilians, destroying his home and his new life in a tent. .
Said said in an interview with Anadolu Agency, “I show the migration of innocent people to the camps and the ordeals they went through during the winter months in their tents in the sand.” And he noted that it also illuminates his sand paintings.
Saeed indicated that his goal is to offer the world the pain, fear and lives of Syrians. In one of my drawings with sand, regime fighters are flying over a neighborhood in Syria. They blew up the neighborhood on the heads of the residents. He said, “Civilians are dying.”
Nearly two million civilians were displaced in the Idlib region, and most of them were forced to migrate to areas closer to the Turkish border between 2017 and 2020 due to the Assad forces’ violation of the armistice agreement, which made the region a de-escalation zone.
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