Warour began his art studies in his native Syria in 1985, with sculpture as his primary medium of expression. His unique interpretations of the culture and history of his homeland led to the creation of many large-scale pieces that set him apart from his contemporaries.
Warour explored various techniques and media (plural of medium?) in order to find the perfect way to capture his vision and philosophy.
In his contemporary work we see some of the sculptor of his formative years. His work deconstructs and dismantles the objects of everyday life into a maelstrom – but a balanced frenzy. The parts are rearranged in surprising ways, intentionally distorting reality and placing the idea at the center of the portrait. Warour understands how to break the form free from its sculptural silence and give it a temporal motion, in large part because of his exceptional ability to use monochromatic and polychromatic colors in dialogue.
His work might be dubbed cubist by some, or perhaps constructivist by others, and still others may attach the label of harsh expressionism. While Warour does not subscribe to any particular movement or school of artistic thinking, he has been inspired by the work of the twentieth-century British painter Francis Bacon for his exceptional skill of showcasing the life performance in his artworks.
(Nasr wants to say that the Francis was able to make a stage for the figures and the things (positioning) in the artwork…everything even the lines are part of the show – like a theatre scene…)
Nasr is very attached to the theatre from his very young years – that’s another reason why he likes Francis Bacon artwork – the theatre is a big inspiration to him!)
In Warour’s work one can also see the inspiration of the late Fateh Al-Moudaress, considered by many to be the father of the modern art movement in Syria, as well as evidence of the rich heritage of Damascus and Palmyra.
Truthfully, Warour’s style is an amalgamation of all these influences from home and abroad, from within himself and from the world that surrounds him. He is a student of no one; he has carved out his own stylistic niche.
Warour’s aesthetic goal is not simply to enchant the eye with a compelling design, but instead to transform something fragmented and destroyed into something beautiful. The viewer dismantles the symbols and shapes and reconfigures them into various expressionist possibilities of his or her own making. All the elements are here; that is, the lines, the colors, and the shapes that depict the essential idea. The artist’s goal is not to beautify the shape so as much as to beautify his own search for inner abstract beauty.
Warour’s work is a departure from the convention and imitation so often seen in the arena of contemporary fine art. Because of this he has received many accolades from various museums and public institutions in Syria, the United Arab Emirates, India, and Italy, as well as notable collectors from around the world.