In the final episode, we delve into a sobering, deeper state of mind, an interior labyrinth where Mazjoub’s portraits cut through to let the inside appear. Deep frenetic lines are charges with his phobias, his rejections. The enemy inside.
Rafik’s ‘un-sugared’ artworks fall in the gaps between recognition and understanding. His repetitive self-portraits are of an obsessive quality, a mental projection of internal anxiety, frenzied on paper and canvas. Along with talking it out, drinking it out, he draws it out in a hope that someone can translate it and get the urgency of his message.
Majzoub’s work is powerful precisely because it is so fractured, through the lack of sophistication we see the purity, the truly authentic, and true to his creative art process.
Distorted tribal-like masks become recognizable to us because he inhabits his world with such conviction and honesty, that we are invited to step inside and wills us to observe, emotionally connect, and understand the human spirit in ways unknown before.
Every line, every shade, every spill, every violence in the brushstrokes, every transparency, all combine to create the impression of a work in progress, of constant evolution, making it opened, unfinished, or rather, unconcluded, an un-fulfillment that echoes the essential un-fulfillment of the human being itself.