Karma Bint Abbas (b. 2002, Amman) is a Jordanian artist. She attends Pratt Institute in Brooklyn, New York. Karma also has Turkish and Palestinian roots, an eclectic background which influenced her style of art. Mixed media, vibrant colors, texture, patterns, prints, and interesting contrasts are present in her work which is inspired by her mixed back-ground, Islamic faith, and the Middle East. Karma combines painting and drawing along with textiles to create work about the idea of home and one’s longing for it. Textiles and patterns are recurring in her work and connect culture with interior spaces and the way we use them. Her work fills the viewer with a sense of peace and tranquility, color is important and is used to create happy and peaceful moods. Purples, pinks, and blues are the main colors that provide the sense of calmness she wants to portray in the subject matter. A mainly pastel color pallet creates scenes of Middle Eastern interior spaces, skylines and more fill the viewer with a sense of peace and invites them to challenge the misconceptions they may have on Islam. Combining the mediums of acrylic, watercolour, oil pastels on canvas, she uses these materials to experiment and expand with the limitations of traditional watercolour. Colour is light and light gives life to different personalities. With RGB SKY M.A.D.S. Art Gallery has set itself the goal of discovering as many memories as possible. Within this theatre, the viewer interacts with the colours and gives rise to new imaginative fantasies. But what images might a viewer bring to life in front of Karma Bint Abbas' works? Certainly, of worlds of peace, serenity, and harmony. Light worlds in which life does not weigh down. In which colours have a life of their own and shine, illuminating their surroundings. With the work Prayer Mat Karma he uses the medium of paper, but at first glance it appears to be a much lighter medium, almost without thickness, floating. Certainly, all sensations that the colour tones and watercolour technique bring to the fore. The work Levantine View, on the other hand, which has a horizontal course, is as if divided into two parts, not perfectly symmetrical, and different in colour and form. The upper one features pastel colours, shades and buildings that stand out against what appears to be the lower mirror of light, a mirror that however reflects a different, darker reality. The viewer is probably wondering which is the true reality: the upper one or the one reflected in the lower half?