Open Studio, Tunis, 2020
The limits we face in our daily lives often lead us to come up with ways to overcome the absurdity of this age’s reality, a reality that transcends the realm of imagination: an age
overtaken by hyperdigitalism, extending its reign to the world of arts.
Being a photographer, my response to an age that imposes concepts such as productivity, speed or accuracy, was the creation and development of a new technique, and developing it over the years. It is a working technique that attempts to break with the contemporary hegemony; as I convert digital pictures (positives), taken by smartphone to analog negatives. These handmade silver gelatin prints turn pixel into grain. It is a technique that I have used to examine the relationships between concepts such as space and time, as well as the possibility of freeing ourselves from those concepts through the filming device.
In the “more news from nowhere" series, I try to capture fragments of reality by creating a distortion in shapes, blurring of lines, or reassessing the notion of "landscape". It is a distortion that mimics the absurdity of Man’s emergence. It is the dawn of a parallel reality revealed through my photos using the failure of digital noise. A deterioration in the image, which technology tries to avoid and limit.
The photos in this series were taken in Tunisia, the African continent’s last point, on the shores of the Mediterranean, where dreams rush, crowd and shatter on the gates of Europe. And thanks to the novel technology, people’s silhouettes fade in the pictures and turn into masses or ghosts, under the burden of their difficult situation, in uncharted locations in the heart of the sea. There are also features of concepts that contradict what is imposed by today’s reality, including the nowhere, the no place, and the formless. These concepts also contrast with the conventional narrative of photography as a fixed picture specific to a place, time, or form...