Faces of Your Other 2008-2010

The appearance of a figurative face

Since 2009, the tension between image and text that characterizes my approach has taken a new direction.  The representation of faces appeared for the first time more clearly in my self-portraits, thus bypassing the influence of aniconism that weighed most heavily on the works of my early career. The representation is closer to the human figure and moves away from the borders of abstraction. Indeed, the human face multiplies itself in endless combinations and perspectives symbolizing the diversity of human identity. In these new self-portraits, the contours are very determined on red or white backgrounds, aestheticallyreminiscent of the use of stencils during Pop art’s period.

Paradoxically, while the face is evolving towards figuration, writing is gradually illegible to become a simple gesture in the act of painting.  Compared to the first self-portraits, writing ceases to be in motion and stabilizes itself. Regaining its traditional ornamental function, Arabic calligraphy is used only to structure the various parts of the face. By integrating an indecipherable speech for Arabic-speakers and Westerners, I focus on understanding the complexity of our own identities as well as our relationship between the Self and the Other.