JOURNEY IN THE LAND WHERE TIME RESTS, 2017

Journey In The Land Where Time Rests 2017

Each Friday, my dad used to recite the same verse from the Koran, every single Friday,

it was titled The Cave. It describes a wall whose collapse would trigger the unfolding of the end of times.

 

Until now, it is believed that reciting this verse every Friday will keep the wall erect.

Until today, I still believe that my dad can save the world.

A forgotten myth is our vehicle.

 

wall, fence or dam ?

would a structure condition the Apocalypse lest befell forgotten ?

 

a commemorative wall

and a barrier

to prevent ominous demographic sweeping

 

a self or a modern one ?

deprived of its mystic

but rewarded by a new mythical plasticity

 

a real monster

or a divine pet ?

it only appears in the infinite edits of the same story

 

a pleasant or unpleasant journey

in the land

where time

rests

 

PS. “we start to build walls again – to live like walls –  with the same boredom –

the same staleness – our faces as hostile as walls – and our destinies thick,

useless and full of walls.” G. Henein, in The Meaning of Life, 1938

 

 

18And They Ask You About The Wall. Say “We Only Know Too Little About Language.”, 2017

7.2 x 2.3 meters: Liquid plastic resin – Rigid polyurethane foam – Metal powder – Colour pigments – Isopropyl alcohol 

 

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The Grave Guard and Digger Inherits The Earth And What’s On It, 2017

H. 60 x L. 75 x W. 15 cm: Laser cutting on acrylic sheets – Super glue – Super instant epoxy glue – Clear epoxy resin

 

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As We Were!, 2017

L. 120 x W. 80 cm: Digital print and laser cutting on acrylic sheet

 

 

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The Hour Has Drawn Near, 2017

L. 150 x W. 180 cm: Digital print and laser cutting on acrylic sheets

 

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Commemoration, 2017

24 X 24 cm: Pigment liner on paper

 

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And He Will Make The Earth A Level Plain, 2017

24 X 24 cm: Pigment liner and water colour on paper

 

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Descriptive Geography, 2017

24 X 24 cm: Pigment liner, water and gouache colour on paper

 

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Oblivion, 2017

24 X 24 cm: Pigment liner and water colour on paper

 

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Unknown, 2017

24 X 24 cm: Pigment liner and water colour on paper

 

 

 

PLASTIC/OCEAN/DESERT/SKY; THE ANTICHRIST, 2016

IMG 1985

 

Maps as bridges between consciousness and communication,

as vehicles for greater narratives;

3D additive technology as a commemoration of petroleum,

as a translation machine between the immaterial and material world.

Plastic/Ocean/Desert/Sky features identity a battlefield,

where narratives of self-fulfilling prophecies fight to win a place in the material world.

 

Read more about the work in The 3D Additivist Cookbook

Also featured in a solo presentation at Petra Ark Space (Amsterdam) in 2016

 1 homepage

Plastic/Ocean/Desert/Sky, 2016

H. 220 x L. 100 x W. 120 cm: Digital printing and laser cutting on acrylic sheets – Transparent resin 3D print - liquid plastic resin – 72" TV screen - 3 min. animation loop 

 

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The Antichrist, 2016

H. 14 x W. 13 x D. 2 cm: Transparent resin 3D print

 IMG 1823

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The Old Is Dying And The New Cannot Be Born, 2016

H. 5 x W. 5 x D. 0.2 cm: Transparent resin 3D print

 

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In The Desert, 2016

Liquid plastic resin

 

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7 map of the major signs 2016 copy

Map Of The Major Signs, 2016

 

1amapoftheself

Map Of Logic, 2016

 

6mapofafricanconnections

Map Of Africa, 2016

 

5mapoftheborderbetweencairoandmasterdam

Map Of The Borders Between Cairo And Amsterdam, 2016