A catalogue of works, 2024–2026

Two grammars, one hand.

Sixteen paintings in acrylic on paper, made between Amman and Frankfurt — one half taped, contained, and precise; the other left to run, stain, and weather.

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Blue Hour, acrylic on paper

Blue Hour — acrylic on paper

Series I

Fault Lines

Sun-bleached grounds and diagonal drip work — the closest translation of the Jordanian landscape: heat, erosion, and the residue of water that isn’t there anymore.

Brushfire Acrylic on paper A denser, faster relative of Fault Lines — orange and black pushed to near-collision, named for the heat it holds.

Signal Rain Acrylic on paper The palette softens — pastel fields interrupted by vertical drips, like rain remembered rather than rain seen.

Series II

Inner Circles

A single, dense work built from repeating circular forms — closer to textile or tilework than to landscape, and the piece most directly in conversation with the artist’s Jordanian heritage.

Series III

Hard-Edge Geometry

The most structurally disciplined work in the catalogue — taped edges, assigned color fields, and a level of containment that reads as the more German half of the artist’s visual instincts.

Night Crossing Acrylic on paper Deep red and cool lavender meet along a hard diagonal, a single pale streak cutting through like a road at night.

Blue Hour Acrylic on paper Interlocking taped fields — cobalt, teal, coral — with a single yellow-outlined form suspended at the center like a held breath.

Crimson Hour Acrylic on paper A darker, more restrained relative of Blue Hour, its geometry nearly disappearing into a single saturated red field.

Series IV

Passage

Two studies in soft focus — color allowed to bloom and bleed into itself rather than resolve into shape. The closest the artist comes to painting weather instead of place.

Passage II Acrylic on paper A quieter companion piece — moss and rust tones settling into fog.

Series V

Embers

The newest and darkest body of work in the catalogue — heavier, more gestural, worked mostly at night. Where the earlier series contain color, these let it fight.

Ember Acrylic on paper Thick, glossy passes of orange and red worked wet-into-wet — the most physical surface in the catalogue.

Crossroads Acrylic on paper A single raw-sienna cross laid over clashing purple, red, and olive fields.

Undertow Acrylic on paper Teal and near-black pulled taut around scattered yellow accents — the darkest palette in the catalogue.

Grid Memory Acrylic on paper A faded, weathered echo of the Hard-Edge series — the same triangulated structure, worn down to memory.

Red Study Acrylic on paper The most minimal piece here — a few incised lines over a near-monochrome red ground.

Grain Acrylic on paper Built from repeated, almost woodgrain-like striations in near-black and ochre.

Dusk Study Acrylic on paper A muted, low-light study in blue-grey and rust, closing the series on its quietest note.

Portrait of Laith Khatatbeh

The artist

Laith Khatatbeh is a Jordanian-German painter based between Amman and Frankfurt, where he has lived for the past eight years. By day, he works in marketing and brand strategy; by night and on weekends, in acrylic on paper.

He holds no formal art training. What he holds instead is a licensed tour guide’s card for Jordan, a habit of visiting twenty-five countries and counting, and a long-running argument between two inherited ways of seeing — one contained and precise, one loose and weathered — that this catalogue is an attempt to settle, painting by painting.

“I paint the way I travel — always translating between two grammars that don’t naturally agree.”

Germany taught containment: a shape gets an edge, a color gets a role, and the two keep to them. Jordan taught the opposite — that the most honest mark is the one allowed to run, stain, and weather, the way water moves through a wadi once a year and leaves a record of its passage.

Life & influences

Where the paintings come from

Looking out toward the Alhambra, Granada, Spain

Granada

Nasrid tilework doesn’t decorate a surface — it builds an entire logic out of a single repeated unit, the way a good geometric painting should. The honey-and-rust stone is close to the palette that later became Fault Lines.

Standing in front of a painting in a museum

A quiet habit, repeated in every city with a museum

Standing in front of color

Wherever travel leads, the same habit follows: standing still in front of one large, contained field of color for far longer than the wall label deserves — the most direct throughline to the Hard-Edge Geometry series.

Enquire

Prints and originals available on request. Whether you’re interested in an existing painting or a commission, get in touch — every message gets a personal reply.

Email Laith.khd287@gmail.com

Phone +962 77893 5191

Instagram @laithm92

Based Amman · Frankfurt · Dubai Send enquiry

Sixteen works. Two countries. One practice.

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