Rabab Nemr's world is a world of private myths that do not separate the viewers from human reality; it rather captures the essence of this reality, abstracts, and then crystallizes it, thereby making us recognize the human in the world surrounding us. Look, for example, at these timeless human faces, with their wide eyes, looking at both the world and eternity, with astonishment and with a touch of fear and perhaps melancholy.
Two lovers embrace, holding a fish, a symbol that radiates many meanings:
life, freedom, and fertility. Birds settle peacefully on the shoulders of the lovers, and the fish feels secure in their hands. The eyes of the lovers and of both the birds and the fish are strikingly similar, alluding to a world suffused with harmony. The fisherman, however, with his big yellow hands that resemble the hands of the lovers, suggests that man is not equal to fish or bird. By placing man at the top of the hierarchy of creations, Rabab Nemr shows herself to be a true humanist, who sees man as a unique creature, separate from nature, his horizon not confined by its horizon.
Even though the paintings are one dimensional, made up of large patches of interplaying colors, they generate in the mind of the viewer a complex of feelings: a sense of joy mingled with a sense of awe, and quite sadness.
In trying to classify Rabab Nemr's paintings, one would surely fail to find antecedents. One may sense a touch of cubism, or a certain degree of abstraction, but her world of private myths stands there within the frames:
serene, colorful, human, and unique.