Complexity is a synonym for a human being. The entire Universe, which we make a part, is a vast complex consisting of an endless stream of possibilities, forms, and substances. When the term complexity is applied to the Universe, it sounds acceptable, whereas when it comes to a human being, it is not discussed and is perceived extremely ambiguously.

The portraits of the C.O.M.P.L.E.X. series by Mohammad Alkhoory is a deep individual investigation of this phenomenon. Alkhoory likes to study social and individual behavior and uses the canvas as a documentary painting medium to explore and depict social paradigms. Do we really know who we are? Are we accepting our shadow sides? Do we realize how many 'faces' we have in our wardrobe when something unexpected or pre-planned happens? How many of us are inside us? Can we be considered the mini- universe and be accepted for that?

Each painting in this series marks the stages of acknowledging one's complexity. The first stage of complexity research is realizing one's weakness and even humiliation. These feelings create a profound post-traumatic effect and leave the individual with many questions. It's difficult to understand why someone treats them this way or why the environment is so important. It comes to suffering, but eternal suffering is unnatural and impossible, so soon, an individual should choose to accept the world's injustice and observe it or blame the whole world for what is happening. If to choose the path of observation and adaptation, at a certain point, the feeling of greed may appear for yourself, for knowledge, for people, and for what they have. Unbridled ego cannot just observe—it needs more. The concept of 'more' should be perceived as everything that exists, as the unlimited flow of chaos and balance, creation and destruction, fulfillment and suffering. This is when complexity shows itself in its glory, in the full emotional and mental spectrum, where complexities of all individuals coexist in one space, and the borders between chaos and harmony are erased. At this stage comes the acceptance of this all-encompassing and often misunderstood process. The individual's consciousness collapses, also impacting their physical condition and appearance. The whole human being is undergoing a transformation. Realizing and living this complexity, the individual understands that each 'mask' of complexity is theirs, that all their parts—from the humiliated to the greedy—coexist simultaneously, showing up in specific situations. Complexity is no longer seen as a depressing, repulsive phenomenon but as a reality, way of being, universality, or a given.

The symbolic language used by the artist plays a significant role, urging the viewer to get closer to the painting. Like a time loop, a matte background creates the illusion of either approaching or distancing, while the central figure remains relatively static and seemingly unshakable in this whirlpool. We see here the ideal representation of a time continuum - a moment here and now in the boundless flow of universal complexity.

Alkhoory not only leads the viewer along the path of awareness and acceptance of complexity but also invites them to discover many details related to this emotional and physical experience. Through sensations and associations, the paintings build a dialogue with the viewer, where the viewer becomes the object, subject, and study breakthrough at the same time.

The subtlety of this metaphysical connection Alkhoory reveals by playing with static and flatness. This coexistence of two-dimensional strokes with three-dimensional ones becomes his hidden-gem technique. The three-dimensional strokes make the complexity look and feel alive; they become a tangible, palpable and unique element of the painting. This is where the complexity becomes not only a subject of social and philosophical study but also a challenging, in-depth exploration of painting and storytelling techniques for the artist.