The piece is an installation work that consists of 170 light switches, weaved into rows with copper wire within a frame. There's a negative image of a bulb diffusing light projected onto it. The piece is accompanied by sound, designed by Rayane Kara, representing electric noise and tension.
It is a piece made in response to the way France answered to their attacks in November 2015, by starting a war with Syria. My process is what I call Poetics vs Politics, as I try and fight obscurantism through light - light in what transcends us and moves through us, what pre-existed us as human beings - it is a call to be re-inspired by its force. The light switches also represents the idea of the gesture and the decision of either switching the light on or off. Their weaving represents this social knit, where we're standing one around the other in order to exist, as a cohesive society.
The negative image firstly represents that state of semi-revealed truth, a negative is not yet completely developed, still we can figure how the image will look. And here it gives us this black, nuanced light that propagates, but the image is still, which gives this sense of tension, inertia and uncertainty in the current state of things, we have the feeling that something is about to explode but it's still standing, even in a precarious way. We're uncertain of what will take over, the light or the darkness, or if they simply both need one another to exist.
The piece aims at recreating this feeling of unease, tension and uncertainty but at the same time tries to reach light within the audience.
De quel foyer part l’illumination?
L'installation immersive est constituée d'un panneau d'interrupteurs tissés par du fil de cuivre, sur lequel est projeté le négatif d'une ampoule qui diffuse de la lumière. La métaphore du négatif de la photographie représente l’idée d’une vérité existante à moitié révélée, celle de l'état actuel d'un monde oscillant entre obscurantisme et élan de combat par la lumière et la pensée lumineuse. Le son dessine cet état d'entre-deux, d'incertitude, et permet de ressentir cette tension. Chaque interrupteur représente le libre arbitre, la décision, le geste, tout en étant chacun un composant nécessaire à cette image d’unité comme un tissage social. Les interrupteurs en tant que support symbolisent le traitement de l'image et la possession de cette matière, comme une couche intégrée.
La démarche derrière est celle que j’appelle Poetics v.s Politics. S’engager, labourer et combattre à travers la poétique plutôt que la politique.
A mon sens, seul le vrai outil est la lumière présente dans la nature, qui nous transcende en tant qu’humains et s’exprime sous plusieurs formes. Trouver sa lumière c’est se reconnecter à cette vérité active en soi qu’est la Nature.
PLEASE EMOVE ME / أرجوك، أثيرني
Installation, variable dimensions.
For the Neandertal it was the fire camp, today it is TV screens that are place at the center of our lives.
Particularly in Morocco, we can strongly observe this fetischism of TV as a worshiped object, at the center of the house, in the living room, next to the sacred carpets. I would like, rather that position a truth, question its title, its role, and the place it transfigures, possibly or not, of a religious allegory, even a cult. Often, on top of it hangs a framed excerpt of the Coran, pictorial representation of cultural and national symbols like the ‘fantasia’ or the king, but why is it to relate these symbols to TV, associating to it this element of divinity?
The symbolic of this television strongly suggest a constant delocalisation at two different scales. The first one, individual, where we can observe this religious aspect and scared, not only as an object/figure with the central disposition that it occupies, but also of the sensation it provides, the ritual, and the loosing of oneself.
The second, geographical and cultural, noting that most of the TV program are foreign ones (egyptian, french, american etc.) while we observe the satellite dishes that ornes the windows and rooftops as a new architectural identity.
It has became for me, a symbol of the moroccan fractional identity, paradoxical, where interweaves eastern and western, religion and cult, without dissociating the real role of each and its proper function, but rather observing a formal synthesis.
Installation serie, text projections on curtain, variable dimensions
This serie of different sentences projected onto a curtain directly interact with the notion of the spectacular within cinema and its watching.
The curtain embodies mystery, theatricality and gives a ‘skinss’ to the words projected onto it.
I think of them as trailers, as holding something yet to come. I link this awaiting position to the one of the spectator, and the expectations it usually holds towards the cinematic.
The sentences are also subjects of investigation for me, especially the relationship of the viewer to the screen and what really happens in such situation.