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Then there was the interview conducted by our colleague Mr. Talal Gharz Al Din from the Highr Metn Artisan

Q: Your love for Beirut is evident, and you have immortalized some of its locations through professional artworks, which makes Nabil Saad the forefront and the first in documenting Beirut's history. Why is that?

A: From my deep love for Lebanon, and based on the opinion of experts, it is believed that I document and chronicle the history of Beirut. This exhibition is not the first; it was previously launched under the same title, "Beirut on the Horizon." I am delighted that my ideas and artworks have encouraged others to depict the landmarks and history of Beirut.

Q: The son of Barja depicts Beirut, not the other way around. The connection is evident and tangible in the artworks. What is your comment?

A: He referred to a statement by the historian Professor Abd Allatif Fakhoury, a historian of Beirut, where he said, "There is a historical bond between Barja and Beirut that differs from other regions and towns and their relationship with Beirut." However, that's not the only reason. The main reason that led me to document the history of Beirut through my artworks is the enchantment and allure of Beirut. It attracted not only the people of Barja but also the French, Austrian, English, and others who came to Beirut to paint it and be mesmerized by its charm and history. As for Barja, it is nothing but an extension and one of the suburbs of Beirut. Let's not forget that Beirut is our capital, and it is natural for me to depict it. By the way, when some people want to introduce me, they refer to me as "the Barjawi who paints Beirut."

Q: Among the sites you sketched, did any evoke a profound sentiment as you beheld and immortalized it?

A: Overall, 'Beirut on the Horizon' consists of three distinct collections. The first collection embodies the persona of Orientalist scholars and is rendered in a monochromatic style. It represents historic Beirut, closely tied to the era of fortifications. The second collection, 'Social Life,' encapsulates the period spanning the 1950s, 1960s, and even the 1970s before the calamitous war of the last century. This collection employs a water-based technique and materials that harmonize with that historical era.

The third collection, 'Grand Landscapes,' predominantly features acrylic paintings depicting vast natural scenes.

However, there remains a crossroad that profoundly influences the artist, which is reflected in certain artworks. For instance, 'The Fall of the Old Guardian' evokes a sense of sadness and shock as one delves into the history of Beirut's fortifications and its historical phase. Similarly, 'The French Alley,' a painting depicting the ornate French-decorated wall made of concrete, which is currently nonexistent, elicits a sense of regret upon realizing what was once present and now lost due to destruction.

What impacted me the most was the explosion at the Port of Beirut on August 4th

Q: Here, we would like you to tell us about a painting depicting the explosion at the Port of Beirut that is highly expressive and carries great depth?

A: Often, I find myself in a state of denial towards the atrocities, deliberately distancing myself from depicting any ugliness associated with Beirut. For instance, I have refrained from portraying the horrors of the civil war due to their repulsiveness. However, it is essential to acknowledge that the new generation demands documentation of Beirut before the war, allowing them to familiarize themselves with its history and emphasizing the importance of learning from past destruction and wars.

Q: Are there difficult and easy paintings?

A: It is not necessarily the case, as it is not a universal rule. Artistic creation is not a supernatural feat; rather, it is a manifestation of the artist's emotions and sensations. Sometimes, a quick and seemingly effortless painting can be exceptionally magnificent, surpassing others that required extensive time and effort. The perception of ease or difficulty in art is subjective and depends on the artist's personal sensibilities and how they translate their emotions into their artwork.

Q: The sketches are absolutely wonderful. What is the reason behind it?

A: The sketch captures the artist's initial feelings and impressions. It serves as a direct expression of their emotions.

Q: What is the title that is most dear to your heart for introducing yourself or mentioning you as an artist in Beirut?

A: Generally, I prefer to be recognized in Lebanon as a whole, not just in Beirut. I admire those who view the works of Lebanese artist Nabil Saad as feeling the same way they do when they listen to Fairuz's voice. Just as we hear Lebanon in Fairuz's voice, I would love for Lebanon to be seen in my artwork.

Intervention by Mr. Talal Gharz Al-Din at the end of the meeting: We conclude our meeting with artist Nabil Saad from the beautiful town of Barja with its people, nature, and charm. We were delighted to have this dialogue with you, Mr. Nabil. What's even more wonderful is that you have brought the past to the present. In my opinion, today's architecture is like a naked woman, regardless of her beauty. In the past, however, construction was elegant and detailed, and the connection between the past and the present can be measured by architecture. Congratulations, Professor Nabil Saad, for being able to immortalize the places and sites that have disappeared so that we can see and learn about them.

Response by Professor Nabil Saad: There is no tree without roots, and these roots are our history from which we draw nourishment to build our future. Regarding the comparison to a naked and elegant woman, we find that as we abandon the red fez in the attire of the Lebanese people, the proportion of fez-adorned buildings has decreased. Here, we can find similarity between the red fez and the red tiles. And what is the color red if not a balance in the painting.