Words by Velin

In the shifting silence of Mohammed Alkhoory’s work, something lingers. It’s not quite a figure, not quite a memory but more like a residue. His pieces resist immediacy. They unfold slowly, as if asking to be remembered rather than seen.

Before becoming an artist, Alkhoory was trained in forensic sciences, a discipline rooted in observation, logic, and the unseen. That background doesn’t just inform his art, it haunts it. His practice carries the instinct to dissect, to question surfaces, to analyze not only what is said but what is withheld. The act of creating becomes an excavation of meaning, a careful tracing of what lies beneath.

His compositions are stripped-down and meditative, often monochromatic and still. Yet their silence carries weight. Memory, distortion, and identity ripple quietly beneath the surface. Rather than depict, he engages in a kind of visual mapping something intuitive tracing of what has been filtered through time, emotion, and subconscious memory. The distortions in his work reflect not only personal memory but the way perception is altered by experience itself.

Spatial awareness and architectural sensibility guide his process. Each form and void is intentional, grounded in emotional logic and refined through careful composition. Even his abstractions are structured with the viewer’s gaze in mind. There is a visual choreography at play, drawing the eye and the psyche inward.

This balance between chaos and calm is central to his language. Alkhoory navigates emotional depth through restraint, avoiding spectacle in favor of quiet tension. His intensity is found in stillness. Through careful reduction, he creates work that feels suspended or perhaps held in a moment that is both fleeting and infinite.

Color, too, is used sparingly but meaningfully. His limited palette serves to sharpen focus, giving heightened presence to what remains. Absence becomes just as significant as form. In this economy of visual language, each element carries weight. A single hue, placed deliberately, can become an emotional trigger, a vessel for memory or tension.

Digital media plays a significant, if understated, role in his practice. It is both a tool and a sensibility, shaped by a world mediated through screens and fragments. Technology becomes a means of manipulation and extension, but also reflection. His work doesn’t merely use the digital, it thinks in digital terms. Distortion, layering, repetition, and removal mimic how memory functions in the contemporary age.

Themes of isolation and fragmentation thread throughout his body of work. These are not purely personal narratives, but rather reflections of a shared condition. His work merges individual memory with collective disorientation, revealing how multiple truths coexist and collide. It becomes a visual response to the emotional gaps between experience and expression.

Rather than documenting events, Alkhoory’s work operates as an emotional archive. What is revealed often feels instinctive, while what is concealed emerges through absence, texture, and form. The work holds what cannot be named, inviting viewers to sit with what resists language.

His pieces do not seek to explain. They do not perform clarity. Instead, they hold space for reflection, for ambiguity, for stillness. In an age defined by excess and speed, Alkhoory’s art offers something rare: the invitation to slow down, to linger with uncertainty, and to pay attention to what’s almost gone.