„OSSO's pictures speak an intensely emotional language. In his constellations of figures, the Syrian painter shows a colourful play of closeness and distance, in which the characters sometimes become wedged into one another or turn away from one another at the greatest possible pictorial distance. The artist's alter ego appears repeatedly as a fragment-like body turned away from the other figures - mostly ragged together in a faceless crowd - which looks at the viewer with a direct gaze, apparently tonelessly and questioningly.
Erotic scenes have an effect through the arrangement of the figures fighting for survival from bare, injured flesh. In general, OSSO wastes itself in its expression in strong, bright colours that counteract the emotional turmoil and concentrated inner struggles of those portrayed in a harmonizing way. A strong orange, blue or a rich green are powerful canvas backgrounds in front of which the portrayed figures become entangled in their (non-)relationships, repeatedly turning away from each other, thrown back into their own cocoons, in distanced misunderstanding.
In his work, the artist deals seismographically with socio-critical themes such as migration, flight, a sense of belonging and interpersonal relationships in the broader context, as well as his personal story apart. One looks into the densely charged faces of an arrangement of groups of people seeking help, teams of two or more individuals, of which no one is stopping seems to be found, a clinging of stranded people in the crammed collective. People like body shells, partly faceless, partly reproachfully direct, always powerful, vivid and alive.“