Munir is an artist committed to the world he lives in and is engaged with the human feature. He offers us a work distinguished by a concept based on abstraction that reflects existential grief, alienation, agony, and the struggle of the human being in his environment.

Munir uses different techniques and bases in his work, preferring the acrylic painting, applying it on canvas, paper and carton. He uses the collage as well through mixing painting with black and white photographs characterized by influential social content. We can not ignore his graphics which, as the rest of his works, embody the interpenetration of art and feelings. Munir's paintings come into our view in the form of dual paintings where two entirely different worlds conflict.

In the first we see a documentary black and white world expressing an intensive sense of solitude. In the second we see a powerful movement shaping a number of figures, lines, circles and unfinished strokes. And we hear Munir's cry through the silent symbols embodied by the strokes of a single, but strong brush, prevailing in the art work and composed of intensive colours contrasting and balancing with the former conviction, reaching us through twisting forms that sometimes manifest in a violent manner that reveal frustration. Thus we find ourselves facing an aesthetic expression of the feelings of an artist who lets us enter his inner world sharing his anxiety and anger at injustice. Here Munir provoke us through his questions and symbols, moving us towards contradiction. How can we find beauty within this flow of concerns? The artist manages to influence us and we discover his creativity through his colours and strokes that are angrily manifested on solid bases. These bases appear as if they were boundaries that can not be penetrated and they symbolise the human powerlessness in the face of the horror surrounding the human being. These art works are the wall against which we throw our whole anger.

Munir's works invite us to inner contemplation and keep us away from indifference and apathy. Thus he introduces art as a component of Meditation and rebellion.
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