Essays, field notes and interviews written around the work — read slowly, in no particular order.
The artwork is not a solitary act but a shared space of becoming — a gateway to redesigned worlds where perspectives keep shifting. In the BLUEROOM, visitors are collaborators; their shadows are captured as living imprints.
A journey through ever-changing digital landscapes and the elusive flow state — that rare moment of creative immersion where time appears to halt. A move from static photography into the dynamic world of CGI.
Born from serendipitous snapshots taken across Morocco, the series reads the country as a mosaic of identities — a dialogue between tradition and progress, the ancient and the contemporary, the local and the global.
From the blank slate of a digital realm, Timeless harnesses CGI to reimagine the desert — not as a barren void, but as a space brimming with untapped possibilities and identity that transcends geography.
Curated by Karima Boudou, Blue Notes threads Ornette Coleman’s harmolodic improvisation through photographs made between Morocco and the Netherlands — colour becoming the translation of what one feels.
Belonging in a globalized world, captured while straddling Morocco and the Netherlands. The photographs are fragments of childhood — visual narratives of dreams and yearnings, home found in the viewfinder.
On the looking-glass self — how one’s self-image is shaped through the perceived gaze of others, now compounded by social media acting as modern-day mirrors compelling us to curate identity.
Silhouettes as vacant vessels, stripped of expression — a stark metaphor for the erosion of individuality and the homogenization wrought by societal norms.
Portraits in diptychs, crafting a visual dialogue between two seemingly unrelated characters — inviting onlookers to ponder the silent conversations transpiring between them.
On the myriad lives that intersect on the city’s streets — the cyclical dance of existence, and clarity found through the lens when words fall short.
An overview of the practice — identity, culture and societal critique across the work, emphasising empathy and the universal threads that connect us despite cultural difference.
A second reading of the series — in-betweenness, a liminal space where past and present intersect, urban landscapes as a sartorial collage of the archaic and the avant-garde.
The long shot asks everyone in the room to hold still and let the thing arrive on its own time. Duration as a kind of honesty — you cannot fake patience in a frame.
The rendered image and the photographed one are not opposite ends of a moral scale. A photograph is already a construction; CGI simply moves those decisions earlier. Both are ways of paying attention.
The wind changed overnight and rebuilt the whole camp’s horizon. There is no arguing with sand — you wait for the hour the light rakes low, set up fast, and accept what the desert has decided.
On returning to the same landscapes: a place doesn’t give itself up in one visit. The desert is patient in a way that reorganises you — you stop performing for it, and that’s when the work starts.
Amsterdam gives structure — grey light, long edits, winter quiet. Marrakech gives heat and interruption. The practice lives in the commute between them.