Metaphores - 2009
Metaphores - 2009
Traces - 2011
Traces - 2011
Wounds - 2012
Wounds - 2012
The resurrection - 2014
The resurrection - 2014
Border-Lines - 2016
Border-Lines - 2016
Metaphores - 2009
Metaphores - 2009
Traces - 2011
Traces - 2011
Wounds - 2012
Wounds - 2012Once the situation erupted in Syria and in the crucial first ten months of the Syrian revolution, I began this body of work“Wounds”There was a sense of urgency and necessity to express feelings about what was going on around.Working discreetly in the beginning, the pressure influenced me to choose subjects I trusted to reenact their experiences during the revolution, but I had to leave and continue the work while in exile, where I chose to become the subject of the photographs and involve my self so completely in the physical sense.The creative process "flowed naturally” because of the emotional investment in the statement and outcome, and the result of this process manifested itself in a series of blood-red and black silhouettes of figures in motion, I chose to express the stories through those silhouettes because this was not about individuals, but it's the experience of revolution: its process, its small failures and victories, and the victims that it claims.It is a subject everyone can relate to, it's not about politics, religion, or the like, it's about the story of people battling in extreme bravery to reach their freedom.
The resurrection - 2014
The resurrection - 2014This project takes on one of the Syrian Government’s most prominent symbols – The Ba’ath Newspaper – as part and parcel of the Baath Security State - to be a surface of new thoughts written by the Syrian people thus overturning the daily chronicle of government lies.I began the project as a form of “artistic documentation" when the uprising was at the peak of it’s "civil society activism" phase and when the image and the word where it's most effective tools.Portraying individuals who joined the uprising in different ways, some where activists on the streets and some were trying to help in many other different ways… Amongst them are activists, students, doctors, Journalists, artists, designers, actors, gallerists, film-makers and writers...The portraits where made secretly, quickly and simply when I was still in Syria and in a more creative approach when I had the chance especially after I left the country.These individuals were asked to write a comment on an OVERTURNED Ba’ath newspaper, summing up their visions and hopes for the revolution in Syria.
Border-Lines - 2016
Border-Lines - 2016his body of work is an exploration into the emerging realities of the injured and divided world we live in. From the tyranny of states and the striated spaces they create, to the frantic northward migration generated by global capitalism, images of drowning dreams, and surveillance of empty spaces, attempts to capture the madness that surrounds us while searching for nomadic traces that defy the status quo.The narrative begins with a figurative visual exploration of the madness of war, surveillance, barrel bombs/oil barrels, and tunnelled futile escapes. The folly of war is then contrasted with nationalist pride, border control, and chauvinistic confines. Nationalism unfolds into fantasies of escape and lines of flight, which in turn lead to the mundane scenes that signify the decadence of consumerism and main stream media. Insisting on finding the courage it takes to live and believe, hope and survival, the narrative finally concludes with the will to survive, bright visions of magnificent beauty in space and light.يمثل هذا العمل محاولات لاستكشاف الحقائق التي ما لبثت تبرز في عالمنا الجريح المنقسم على نفسه... من طغيان الدولة، إلى موجات الهجرة المحمومة التي تحركها وتتحكم بها الرأسمالية العالمية، صور لأحلام غارقة... مراقبة الخواء... محاولات لتوثيق الجنون الذي يحيط بنا، وسط البحث عن أي أثر للحياة يتحدى الأوضاع الراهنة.تبدأ الحكاية باستكشاف بصري شكلاني لحماقة الحرب وعبثيتها، ومفهوم المراقبة، والبراميل المتفجرة/براميل النفط ومنافذ الهروب اليائسة. ثم تقف الحرب بحماقتها وجهاً لوجه أمام أشكال التعصب، وأمام حرس الحدود وقيود الشوفينية. خيالات للهروب ودروب للنجاة، تودي بدورها إلى مشاهد دنيوية اعتيادية تجسّد انحلال ثقافة الاستهلاك والإعلام السائدة. ومن منطلق الإصرار على التحلي بالشجاعة اللازمة للتمسك بالحياة والأمل والبقاء، تُختتم الأعمال بمشاهد رحبة يشكلها التفاؤل والضوء.
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