|authority, self-attributed. on exploring the quotidian dialectic between the artist, his environment and the unnatural stupidity of society[2017 - God knows when]||How do societal deformities manifest themselves both in individuals and as a collective? How deeply embedded are these defects in the fabric of our society? Is the individual selfishness a mirror of the collective or is it that the collective fabric has rotten exposing these putrid values? At what point can or should one start to point fingers?
This ongoing project questions the daily relations within a society while trying to make some sense of one's own role. How society is steered by a shapeless entity called authority that most often manifests itself through corrupted human nature, broken human relationships, moral and religious codes. This work revolves around the self-attribution of authority to conclude, admit, deny, approve, reject, support or oppose. Everything is brought to question, from the most insignificant freedoms to politics, religion and soccer.
|While researching the better understanding of our being and the reality that we contextualize ourselves in, we come across the antinomy of light having the duality of being particle and wave at the same time. When left unobserved, light acts as a wave, but when measured, light acts as a particle. Where does this ability come from or is it simply inherent from quantum consciousness?
While quantum physics decrees that the observer determines the existence, we can’t not wonder what happens to everything that leaves our field of vision once we turn our gaze. Does what we don’t see really fall out from existence and then, spring back into existence once we look at it again?
In an attempt to demonstrate this duality, x-rays, made by a radiology specialist, were contact printed over silver gelatin paper that was previously exposed with negatives of the corresponding body part of the artist, photographically captured by a third person.
The asseverations of this pseudo-scientific research are further elucidated by a philosophical approach towards our incomprehension of the quantum consciousness predicated to all matter, and, at this point, we start to question the function of representation, once it has already been established that the existence can only be determined by the observer.
This project was made for Beirut Art Fair 2018 and shown with Artlab Gallery.
|copenhagen interpretation portrait - 80 x 220 cm app - photographic enlargements of negatives and x-rays on fiber base paper with interaction of rubber stamps and pigment ink.|
|90 days - 12.5 x 17.5 cm - rubber stamp on expired passport.|
|gargantuan - 22 x 30 cm - mezzotint printed on cotton paper. edition of 5 + a.p.|
|study for gargantuan - 10 x 13 cm - mezzotint printed on simili japon paper - edition of 5 + a.p.|
|gargantuan ii - 15 x 25 cm - mezzotint printed on cotton paper. edition of 5 + a.p.|
|Abdul hopped of the boat, at the young age of 13 and look up to the Serra do Mar with fright. What beast would come out of the forest to devour him? Debret must have had the same feeling when he made his lithograph - Vallée da Serra do Mar. Abdul never met Debred. In this print, I propose a meeting between Abdul and Debret, even if through the setting, that was commonplace for both.
This print was made for the collective exhibition "Impressions from an Archive", a collaboration between Beirut Printmaking Studio and the Arab Image Foundation. The show will first show in Liverpool as part of the LAAF 2022 (Liverpool Arab Arts Festival) and later travel through Europe and Lebanon.
|abdul meets debret - 16 x 21 cm - burin on copper printed on cotton paper. edition of 5 + a.p.|
|new dealership - 13 x 18 cm - heliogravure, roulette and etching on two copper plates printed on cotton paper. edition of 5 + a.p.|
|we don't need theaters. lebanon is the perfect stage for a tragic comedy - 25 x 35 cm - aquatint, etching & drypoint on copper plate printed on cotton paper. edition of 6 + a.p.|
|ballsack - 8 x 11 cm - mezzotint printed on simili japon paper. edition of 10 + a.p.|
|Just off the main archaeological site in Kfardebian, stands a small altar that was once featured on the 250 Lira bill, that circulated until the late 80's/ . Manny people - to this day - confuse it with the temple of Bacchus, in Baalbeck not knowing that the small altar is a structure that fits in a 2.5m cube.|
|remember when we had money? - 20 x 12.5 cm - burin on coppoer printed on cotton paper - edition of 5 + a.p.|
|kahraba for beelgalasos - 42 x 21 cm - burin on coppoer printed on cotton paper - edition of 5 + a.p.|
|concurrent insurance - 20 x 25 cm - contact c-print from an 8x10 negative - edition of 5 + a.p.|
|This photograph was part of the collective exhibition "Togetherness" at Gallerie Tanit - Beirut, in 2021. An open bottle of holy water and an open bottle of Zamzam water stand next to a blender.|
|somehow we shall unite - 20 x 25 cm - contact c-print from an 8x10 negative - edition of 5 + a.p.|
|tomorrow's predicament - 20 x 29.5 cm - etching and aquatint on copper printed on cotton paper - edition of 3 + a.p.|
|throne - 40 x 40 cm - roulette on copper printed on cotton paper - edition of 5 + a.p.|
|The image of the small altar in the Kfardebian archaeological complex, that once illustrated the 250 Lira bill (biggest demonination in the 80's) is now offered as a stamp on the 1000 Lira bill. Bills are stamped and put back into circulation. This ongoing project started in 2017 and it took 11 months for a stamped bill to make its way back to the artist.|
|1000 - 11.5 x 6 cm - rubber stamp over paper money.|
|broken saints - 13 x 28 cm - c-print from a 35mm negative - edition of 3 + a.p.|
|object of adulation - 6 x 8 x 22 cm (open)- food wrappers, mat board and bamboo paper.|
|james at the wc at lax - 30 x 40cm - oil on canvas.|
|nick - 20 x 8 cm - rubber stamp over boarding pass.|
|entropy - 14.5 x 27.5 cm - etching and aquatint on copper printed on cotton paper - edition of 4 + a.p.|
|This bill was made, in celebration, when the Lira to Dolar rate reached 2500 to 1. Fifteen 100 Lira stamps were attached to a 1000 Lira bill, raising its value to 1 Dolar at that day.|
|todays rate - 11.5 x 6 cm - stamps, rubber stamp and ink over paper money.|
|Wasta is a slang term for political favoritism. You manage to get something done or get away with something because you have "wasta", meaning you are close to an influential or political figure that can clear you up with one phonecall. It is this wasta mentality that brought Lebanon to the state it finds itself in, to its knees.|
|political favoritism - 20 x 25 cm - roulette on copper printed on cotton paper - edition of 5 + a.p.|
|This photograph is a “time capsule”. A roll of film is exposed and kept for a certain amount of time, randomly decided by the artist, and only then developed. The result is a total surprise and a trip back to the past.
This roll of film was shot in August 1994 and was only developed in December 2017. These photographs were taken in the Basta neighborhood in Beirut. But that is the most the artist can remember about these forgotten people.
Two hundred poster were printed and were made available in this exhibition. Along with the time shift, the artist proposed that every visitor took a poster to hang somewhere on the street, thus allowing for a full shift in space-time.
|timecapsule poster - 60 x 60 cm - offset printing on coated paper.|
|On an ongoing study of social exclusion and social disorders, we come across seven ailments that have gravely infected and, therefore, affect our society. These diseases all originate in the mind and find a path to become physically and/or socially manifested.
By floating oil colors on water, we capture the micro formations of these cellular shifts and take an imprint on a small sheet of cotton paper materializing tissue slides from unavailable tissue blocks. Once dry, these slides are labeled with the name of the pathology and further undergo numbering, diagnose, prognosis, date stamp, and final conclusion by the pseudo-pathologist. The slides are incapsulated between two sheets of plexiglass and sealed in place with metal clips in a final attempt to promote the isolation of the malady.
Curiously, these illnesses have one common element that is the lack of any medical treatment or pharmaceuticals to minimize or to revert the prognosis. Alternatives like Bach’s florals, homeopathy, and oriental medicine have also proven to be ineffective across the board. So far, the only proven betterment of the symptoms were achieved by alienating the patients and sending them abroad, to a civilized society, for a period of 18 to 24 months. In some isolated patients, a longer séjour allowed for the prognosis to be completely reverted.
|misstatement on the libanus-circumscribed disorders - 21.5 x 117 cm - oil colors, typewritter, rubber stamps, pigment pen, plexiglass and metal clips on 7 strips of cotton paper.|
|Immediately after the great explosion that hit Beirut, MRE (Meal Ready to Eat - normally used by the US army) was distributed in the region most affected. At the time, I felt we needed something different and therefore, I added a map-fold version of Gericault's "Raft of the Meduse" to the kit.|
|foreign aid - 28.7 x 37 cm - c-print from a 4x5 color negative - edition of 5 + a.p.|
|instant conversion - 3.5 x 6 cm - rubber stamp.|
|notes towards a better revolution - 17 x 23.5 cm - lithpgraphy on invoice form.|
|nature seems dead - 16 x 16 cm - roulette on copper printed on cotton paper - edition of 5 + a.p.|
|Once the user "curates" a hashtag, the machine takes a time-stamp and any photo posted on social media and taged with the curated hashtag, from that moment, is collected and sent for printing with a caption that reads "This is Art." printed under the photo without a soft file ever being generated. The machine collects a digital capture that was posted in a digital platform and brings it back to the analog. As the print exits the printer, it is no longer of interest or relevant to the process and the print is left to fall to the ground.
This instalation was made for the P.O.M. (Politics of the Machine), Beirut-2019.
This project was made possible with the help of the software designer Omar Abou Nassif.
|automatic art validating machine - installation - computer, printer, software and internet connection.|
|despondent - 15 x 15 x 10 cm - bronze - edition of 2.|
|dialogue in exile - 16 x 14 x 14 cm (variable throuout the edition) - bronze and limestone - edition of 2.|
|all she wanted was to sleep - 14 x 11 x 8 cm (variable throuout the edition) - bronze and limestone - edition of 5.|
|lower left leg - 13 x 13 cm - mezzotint and rubber stamp on cotton paper - edition of 5 + a.p.|
|open letter to the lebanese in helvetica - 15 x 15 cm - mezzotint and roulette on cotton paper - edition of 3 + a.p.|
|unbound - 26 x 21 cm - rubber stamp on paper.|
|Orange trees... - 13.5 x 21 cm - rubber stamp and ink on paper.|