In all his landscape art and depiction of place, Anani takes the viewer into the Palestinian natural world, both at the obvious visual level and into his dreamlike or imaginary vision. He is an artist who affirms the simplicity of things, yet does not reveal what lies behind the colour, form and expanses of light that he presents to the viewer. For example, we see works that present landscapes of different locations in Palestine such as Silwan, Jerusalem, the southern part of Ain Qinia, Deir Ammar, all of which were created within a relatively short period of time between 2010 and 2013, yet they are very different in style and manner: they reflect the artist’s constantly changing vision.
The landscape in Jerusalem Landscape (2013) appears as spectrum of transparent bold tones, seeming to rise from the artist’s psyche or the depths of his unconscious mind. Jerusalem Landscape diverges completely from Anani’s familiar landscape style. The meticulous detailing of place, trees, stone walls, houses, all present and show nature as we have not seen it before. Yet this remains the same artist who draws on his experiential intuition and love of discovery of colour, raw materials and treating forms with different methods. This work embodies a style of Anani’s that breaks the rules set by the same artist in his other Jerusalem landscape paintings.
Anani’s work stems from his fascination with the Palestinian landscape and rural life, which are subjects that he has addressed throughout his artistic journey. In this series of work, one can rarely spot a human or their shadow, for the primary focus remains on the aesthetic of the place, giving the audience the chance to ponder and appreciate the scenic terrain.