authority self-attributed [2016 - still going]
This ongoing project questions the daily relations within a society while trying to make some sense of one's own role. How society is steered by a shapeless entity called authority that most often manifests itself through corrupted human nature, broken human relationships, moral and religious codes. This work revolves around the self-attribution of authority to conclude, admit, deny, approve, reject, support or oppose. Everything is brought to question, from the most insignificant freedoms to politics, religion and soccer.
While researching the better understanding of our being and the reality that we contextualize ourselves in, we come across the antinomy of light having the duality of being particle and wave at the same time. When left unobserved, light acts as a wave, but when measured, light acts as a particle. Where does this ability come from or is it simply inherent from quantum consciousness?
While quantum physics decrees that the observer determines the existence, we can't not wonder what happens to everything that leaves our field of vision once we turn our gaze. Does what we don't see really fall out from existence and then, spring back into existence once we look at it again?
In an attempt to demonstrate this duality, x-rays, made by a radiology specialist, were contact printed over silver gelatin paper that was previously exposed with negatives of the corresponding body part of the artist, photographically captured by a third person.
The asseverations of this pseudo-scientific research are further elucidated by a philosophical approach towards our incomprehension of the quantum consciousness predicated to all matter, and, at this point, we start to question the function of representation, once it has already been established that the existence can only be determined by the observer.
This project was made for Beirut Art Fair 2018 and shown with Artlab Gallery.

Géricault's "The Raft of the Medusa" has always had a special menaing to anyone who's work discusses social exclusion or the perpetual cycle of social inclusion.
From the anonymous etching of the actual raft that made land, a rubber stamp has been created and this stamp was used to stamp the passport; that one necessary document that allows you to cross borders, or, in most cases, to hold you outside the real and/or imaginary borders.





Abdul hopped of the boat, at the young age of 13 and look up to the Serra do Mar with fright. What beast would come out of the forest to devour him? Debret must have had the same feeling when he made his lithograph - Vall�e da Serra do Mar. Abdul never met Debred. In this print, I propose a meeting between Abdul and Debret, even if through the setting, that was commonplace for both.
This print was made for the collective exhibition "Impressions from an Archive", a collaboration between Beirut Printmaking Studio and the Arab Image Foundation. The show will first show in Liverpool as part of the LAAF 2022 (Liverpool Arab Arts Festival) and later travel through Europe and Lebanon.


This button was produced from appropriating an official photograph of Shinzo Abe and posing him as a candidate for the Lebanese general elections after a vacuum of 4 years without a president and a failing caretaker ministry. This was made sometime around November 2018, when Abe was still prime minister of Japan and about one year before Lebanon entered a social, political and economic colapse. Only one button was made and is still used by the artist.

The facade of the old Picadilly Theater, that is so comonplace to all Beirut dwellers, has fallen into complete despondency with the closing of the theater decades ago. The neon sign is partially destroyed and letters from the signage are losely hanging or have gone completely missing.
The youger generation never knew what this theater (or any theater for that matter) meant. This plate wishes to bring back not the old memories of the glory days of the theater but insted to point out that the neglect seen is a mirror of the neglect of our goverment to its people and even the neglect of the people among themselves.
This print mas made for the Beirut Printmaking Studio's exhibition at the Fondation Taylor in Paris, France - 2022.


Just off the main archaeological site in Kfardebian, stands a small altar that was once featured on the 250 Lira bill, that circulated until the late 80's/ . Manny people - to this day - confuse it with the temple of Bacchus, in Baalbeck not knowing that the small altar is a structure that fits in a 2.5m cube.

The temple of Zeus Belgalassos is the most important archaeological site in the Kfardebian region of Lebanon. This temple received a small fund (small in relation to what archaeological studies and restaurations cost) after decades of neglect by the government, by the visitors and even by the people of that region.
This print suggest the instaling of a high voltage transformer at the site in order to offer electricity to the site. It is the kind of thing that our leaders would do; offer what is direly needed elsewhere to a place that hasn't any need what-so-ever.


This photograph was part of the collective exhibition "Togetherness" at Gallerie Tanit - Beirut, in 2021. An open bottle of holy water and an open bottle of Zamzam water stand next to a blender.

A phrase was inserted in a sceen capture that was later transfered to a lithography stone and printed.

This print was made during the initial talks over the holding of general parliamentary elections in Lebanon. Early on, when the date was still being discussed, many had already decided to not vote or to vote blank.
This lack of civic responsability is only another symptom to what took our country into and at the same time keeps our country in such turmoil.

During a trip to Anfeh, a fishermans village on the way north, a lonely broken chair kept guard to the entrance of an abandoned factory that had been bomed during one of the countles wars in Lebanon.
This chair represents the throne, the president's chair in its physical and metaphorical state.

The image of the small altar in the Kfardebian archaeological complex, that once illustrated the 250 Lira bill (biggest demonination in the 80's) is now offered as a stamp on the 1000 Lira bill. Bills are stamped and put back into circulation. This ongoing project started in 2017 and it took 11 months for a stamped bill to make its way back to the artist. Ten new bills were numbered and signed.


In a country that is held hostage, both by society and government, to religious beliefs, one sees many of their freedoms cut short. Dress codes, mariage processes, metheods of prayer and even where to buy meat can spark up to such confusion that one starts to question if God really has any space in such a society.




This bill was made, in celebration, when the Lira to Dolar rate reached 2500 to 1. Fifteen 100 Lira stamps were attached to a 1000 Lira bill, raising its value to 1 Dolar at that day.

Wasta is a slang term for political favoritism. You manage to get something done or get away with something because you have "wasta", meaning you are close to an influential or political figure that can clear you up with one phonecall. It is this wasta mentality that brought Lebanon to the state it finds itself in, to its knees.

This photograph is a �time capsule�. A roll of film is exposed and kept for a certain amount of time, randomly decided by the artist, and only then developed. The result is a total surprise and a trip back to the past.
This roll of film was shot in August 1994 and was only developed in December 2017. These photographs were taken in the Basta neighborhood in Beirut. But that is the most the artist can remember about these forgotten people.
Two hundred poster were printed and were made available in this exhibition. Along with the time shift, the artist proposed that every visitor took a poster to hang somewhere on the street, thus allowing for a full shift in space-time.

On an ongoing study of social exclusion and social disorders, we come across seven ailments that have gravely infected and, therefore, affect our society. These diseases all originate in the mind and find a path to become physically and/or socially manifested.
By floating oil colors on water, we capture the micro formations of these cellular shifts and take an imprint on a small sheet of cotton paper materializing tissue slides from unavailable tissue blocks. Once dry, these slides are labeled with the name of the pathology and further undergo numbering, diagnose, prognosis, date stamp, and final conclusion by the pseudo-pathologist. The slides are incapsulated between two sheets of plexiglass and sealed in place with metal clips in a final attempt to promote the isolation of the malady.
Curiously, these illnesses have one common element that is the lack of any medical treatment or pharmaceuticals to minimize or to revert the prognosis. Alternatives like Bach�s florals, homeopathy, and oriental medicine have also proven to be ineffective across the board. So far, the only proven betterment of the symptoms were achieved by alienating the patients and sending them abroad, to a civilized society, for a period of 18 to 24 months. In some isolated patients, a longer s�jour allowed for the prognosis to be completely reverted.

Immediately after the great explosion that hit Beirut, MRE (Meal Ready to Eat - normally used by the US army) was distributed in the region most affected. At the time, I felt we needed something different and therefore, I added a map-fold version of Gericault's "Raft of the Meduse" to the kit.




Once the user "curates" a hashtag, the machine takes a time-stamp and any photo posted on social media and taged with the curated hashtag, from that moment, is collected and sent for printing with a caption that reads "This is Art." printed under the photo without a soft file ever being generated. The machine collects a digital capture that was posted in a digital platform and brings it back to the analog. As the print exits the printer, it is no longer of interest or relevant to the process and the print is left to fall to the ground.
This instalation was made for the P.O.M. (Politics of the Machine), Beirut-2019.
This project was made possible with the help of the software designer Omar Abou Nassif.


This small sculpture was made in an edition of 2 + A.P. The three male heads represent the three main Abrahamic religions. The three heads were presented in a circle each looking at one direction.

This sculper of a womens head was made in an edition of five. They were shown in a cirle one facing each other but they have their eyes closed. Each head represents one of the main 5 religious sects in Lebnon.




