On the desk, pens, paper, a few scattered objects and, taking
pride of place, a 10-point plan for the future, "his"
simple pen, the eye-glasses and a "painting" given as
a gift by daughter Aisha, which never left his side.
Adjacent is a beige-toned sitting room that looks comfortable
and receiving. Sparse objects (few art volumes, ash trays, lamps
and a low marble coffee table) manage to convey the pervading
feeling: office yet home, warmth, geniality. More photos adorn
the walls, showing the pride of the man in his family and revealing
his hobby for sports, sailing, fishing. The whole setting radiates
boundless love for the family.
The businessman gives way to the family man, inviting one to
open up to him - even if the visit may be official. And then,
there is the room of symbols: life and its eternity. Art work
by wife Suha covers the walls. Done in sand grain of earthly colours,
mostly reddish brown, but also basic yellow, blue, black, in green
and ochre, the works seem monumental in the relatively small room
equipped with a round wood and metal table, four metal chairs,
niched-in book shelves and a big-size TV screen.
As if entering a cathedral, a passageway takes you into the next
room, with more art work by Suha (photographs this time) showing
an acute artistic eye. The photos are mainly of sunsets. A farewell
or the foretelling of the sunset of the life of Khalid Shoman?
His semi-profile silhouetted against a full wall-size photo of
the sea (at sunset) somehow completes the cycle of life: water
- beginning and end - sand, a grain of which we all are, life
that never really ends but is transformed, metamorphosed, exists