This article examines the artistic practice of Lebanese painter Fadi Barrage (1939–88), focusing on the late 1970s and early 1980s, a period marked by his displacement during the Lebanese Civil War and his subsequent exile in Athens. Drawing on an intimate archive of unpublished diaries, sketches, and personal correspondence, the article explores how Barrage’s paintings functioned as both a refuge and a reflective process for navigating trauma, memory, and marginalization. Rather than depicting war-induced violence and desire directly in his paintings, Barrage developed a deeply personal visual language rooted in abstraction, which he referred to as “paint-feeling”—emotive compositions that concealed often erotic and affective content beneath layers of texture and form. Central to the discussion is Barrage’s conceptualization of “Fleisseh,” a term drawn from his childhood that came to denote both a real and imagined space of emotional safety, creative freedom, and queer desire. By engaging with Jill Bennett’s theory of empathic vision and Kirsten Scheid’s concept of taswir, the article situates Barrage’s practice within broader debates on representing trauma and the interactive creation of meaning through image-making. His paintings offer insight into how experiences of violence and queer desire are encoded in visual form, particularly when open expression is constrained by social or political contexts. This article brings new attention to an overlooked modernist trajectory in Lebanon, showing how Barrage’s personal notes and sketches reveal the ways artistic practice can serve as a means of emotional survival and a process for transforming trauma, displacement, and marginalization into an affective visual language.
