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... No other memory remains for the time of my childhood, and I have even forgot my father's features. Of my mother, a floating figure, I only remember the veil that covered her face and a gold ring, set with a pearl, that she wore on her ring finger.

But I have not forgotten the last chapter of my life there, the one that led me so far, under the sparkling sky of this desert. Nothing changes here, and I can never escape this spot, no matter what distance I traveled on burning sand.

I have not forgotten that chapter, but I have rejected it, fearful for my sanity.

I know now that the day I walked on that sand, my memory, everything I once experienced, has become a book that forgets its pages. No sooner does a precise memory emerge on the surface, that it vanished into an abyss, into oblivion.


My life is written on sheets, that no binding can assemble, and the wind disperses when I brush them.

The poems and prayers I repeated once in solitary recitation, those that all the warriors of my tribe knew by heart, I have forgotten!

And since I am me, now deserted by all memories, crawling like a lizard on the glowing sand, what can I do but remember that one chapter of my life, so long avoided, that led me so far? Before the solitude and the tears break me apart.


Perhaps my soul that dwells in this labyrinth of sand will finally find a bit of peace?
Perhaps the darkness of the well of my childhood will close in on me? 
Perhaps I will finally find, among the ruins, a trail to walk through the human world?


LET US STOP AND WEEP (ongoing since 2000)

LET US STOP AND WEEP is a series inspired by the works and life of Imru’l Qais – امرؤ القيس, an Arab poet and author of one of 7 famous “suspended poems” from the time of Jahiliyyah, the pre-Islamic era.

These images, documents, archives, texts and audiovisual materials are a meditation on origins; its ruins and wanderings.
Since my departure from Lebanon, toward the end of the civil war, visits to the country of my birth were rare.
After several failed attempts to document these "returns", I ended up discovering locations of unexplored and prohibited territories of my childhood.
This series is being achieved through a disposition of meanings, a detailed description and a creative comparison of reality.
The style longs at times to the obscene and to laceration, and others to the noble and to the sovereign.








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exhibition


Depression Era - Biennale 5 (Thessaloniki, Greece, July - Sept 2015)

In Piedi Davanti Le Rovine - Dimora OZ (Palermo, Sicily, Sept - Oct 2015)

Origini - Museo Riso (Palermo, Sicily, March 2016)