[1] The triptych reflects aggressive use of brushstrokes and intense rendering of relationships of color, form and structure in conveying the atmosphere and mood of the subject matter.

[3] The central painting focuses a goddess-like figure with multiple sets of arms and legs suspended in chains and barbed wire.

[6] She is turned upside down and surrounded by chaotic mess of menacing figures, barbs, chains, and specters of death extending their devastation to the entire space of the canvas.

The left panels depicts two skeletons with long spines made of the redundant thick black lines, framing the section.

The concept of travesties committed against families as their homes were razed (and experience Kanso understood first-hand)[12] is analyzed in the right-hand panel.

The hope for the future of a war-torn country is devoured in the form of a central figure dangling an infant and a child above a ritualistic circle of flames and dancing bodies.