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I first met Falah several years ago in Athens and I can say that I was impressed by his childishness as a human being. When I saw his works, I saw at the same time a very deep pain and bitterness, compared with the past he had lived in his country of origin. He is a man who gives you the taste for travelling. At the moment you have a serious conversation with him, he suddenly starts singing. His works play with the geometric layers, with time and theme. It is a painting that carry so many modern elements that invites you to discover it. Falah Ghati was originally coming from Iraq, but there was not anything distant or exotic about him. He was a citizen of the world. That is, he had a culture, a thought, which he had incorporated and absorbed lots of characteristics from several parts of the world. After all, he is a well-traveled artist. He has been exhibited his work in many countries. At the same time, what was impressive was his emotional world. He was a man with an emotional world, one might say, cracked. And this crack was something that made you watch with a different look, much more integrated, his work. But also, to get messages very intensely, now understanding the symbolism behind the things that he presents, the references, the human messages. He has a constant reference to the Iraq war and at the same time in his work an overthrow of this element. How Falah Ghati managed to become a citizen of the world is really a question. Because he carries wounds, very closed elements, things, which are psychological traumas, and this jump is not easy. Maybe thanks to his extraordinarily strong feeling, to his artistic power. What force an artist to make an exceptionally long way, to be loved so much by different people, coming from different countries? Maybe the power inside him. This is reflected in his work. A work is not only to be perfectly built, but also to contain a soul, to have substance.

Vasiliki Kappa, Christos N. Karakasis, and Maria Kappa in The Exiled (2017)

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