The assault of war is one that continues to impose itself. War survivors live in a perpetual state of panic, as news of distant wars fuse with existing memories and create a new present reality. Having survived one such war (Lebanese civil war 1975-1990) I find myself stuck in a loop, with the story playing on repeat. The self is often lost in the larger narrative of country and national survival. A personal grappling with identity then becomes necessary as politics are navigated and analyzed. Death always looms, not as a distance occurrence but as one that waits around the corner. This forces a dialogue with the unknown, as a way to connect to those who have departed and also as a way to understand the infinite. The physical material of paint becomes an important role player in delivering the assault that shapes figures in their mysterious habitats. These creatures adopt the title of Moribund, and traverse between life and its aftermath. The canvas is often intentionally unstretched, allowing for the work to be rolled up and carried, much like a nomad navigating the afterlife (or a refugee in the present) may roll a blanket for travel. The role of instinct allows for paint to be used in conjunction with other materials that often include gun powder, a constant reminder of the danger at bay.