A drawing in the spontaneity of color, a language in the materialization that verifies human thought, a fleeting expressiveness, spontaneous, aggressive and full of feelings, in a dynamic that cannot take away from time the speed and dimension of the present era, the story of our century whiling away between fabulous dreams and a sad reality.

If space could hold the reasoning of Nabil Kanso, his soul as part of his work would benefit of the infinite immensity for drilling and penetrating into the ethereal expansion filled with the illusion of its incandescent threads which dramatize and illuminate with their absolute visualism his intensity of pain and pleasure, and the enjoyment of a feeling in which that great space shrinks in front of his reality, his reasoning, his image, his mirror.

Human shapes retrace themselves assuming an abstractionism, a symbology, a concrete message, from an idealized peace to the horrifying interpretation of pain, the representation of childbirth escaping from terror, the despair of encountering nullity, the impassivity of a king who agonizes in his essence, the symbolic strength of a constant movement, where man, wild and untamed, routs and escapes into the devastating freedom of silence.

In his artwork, martial art are repeated where dogmatic heritages of the virtues of cultural perfectionism destroy themselves, or promise the autocratic homogenates of a perfect leadership.

His paintings are the anguishes of the pain brought by the thoughtlessness of man and placed in the infinite space of a principle, in which the conflict of a cause: terrestrial peace in the play of word and idea, fire and sky, or total darkness…the naught.

His aesthetic and artistic imagination envelops the whole twisted reality of revolutionary and historical plenitude into an odd inferno. Scarlet, crimsons, yellows, violets, ochres, and the few brushstrokes of blues are the perverse of joy and evil move in a narcissistic masturbation that strikes satanically towards the destruction of the essence of being, from the real to the unreal whose pale shadows of the images embody that reality which is denied.

Nabil Kanso’s universe if full of carnal essences and mute significations, mixture of essences and existences, imaginary and real, visible and invisible, the discovery of truth by way of looking and seeing what is hidden in the occult wisdom of artistic science.

Upon arriving at a sensible meaning, we find ourselves beyond perceptive intuition. It is the memory’s doing what makes reflections of a generator of such expressive forcefulness whose genius is the fact of the great truth.

The truth of Nabil Kanso, a compulsive being substantiated by a beautiful faculty. The action is a spontaneous fantasy, but always in the stream of memory.

Rossi, Ildebrando: "The Paintings of Nabil Kanso," Panorama, April 14, 1985, Maracaibo