Presumably this painting, as others by Madani, takes its source from either one of the highly controversial photographs taken by American soldiers of their tortured prisoners in Abu Ghraib in 2006 or some such imagery of human degradation (from whatever quarter) during the War of Terror widely diffused in the media.
Madani chooses hard-hitting contemporary topics, often relating to the Middle East, to apply her distinctive expressionist style to. Garish colors, sketchy outlines and broad brushstrokes allow for a violently satirical depiction of society, politics and war. The viewer is trapped in the position of the voyeur glaring at these scenes through the comfortable prism of a computer screen or a magazine and made to slow down and consider these terrifying visuals for more than an instant, encouraged by the different temporal status offered by a painting. The disturbing clown-like grin appearing on the cagoule defies any rapid assumptions and confuses the entire scene to emphasize the sheer absurdity of the situation. Arms outstretched, the figure kneeling in a pool of blood sinks into amorphous insignificance as the stripes covering his body make him blend into his surroundings. He literally becomes a wall painting as the title suggests. Criticizing erasure as well as over-exposure, Madani is definitely one to use painting as a weapon of mass denunciation.