Technicolor is the name applied to a series of color motion picture processes, the first version dating from 1916, and followed by improved versions over several decades.
Technicolor is what applied color to early films and cartoons; it’s the rough aesthetics we were raised to, the highly saturated color indexing and the very thing that brought life to the television.
Somehow these aesthetics resonates with us from the early 90s where we developed a high sense of nostalgia towards it. Growing up watching Arabic-dubbed cartoons such as Grendizer, or watching the news and seeing the Balfour Declaration take its form in Palestine, or the ‘Arabic Dream’ song which many of us grew up loathing; these imageries always seem to remain in these colors in my mind.
Shame on Arabs
digital print encased in plexiglass 2014
140cm x 100cm
Arabian countries have become more and more lethargic to the state and the constant decline of their people, heritage and aesthetics. Finding themselves more and more westernized and with lack of any sentiment or sympathy to economically challenged — lesser — countries; taking Gaza of Palestine into account, the condition that Iraq is in, or the constant bombing in Lebanon and much more. The state of the Arab nation is similar to the aesthetic of the car, that is in a stand still for many years and is slowly declining. The youth voice their opinion through graffiti in many revolutions; and the arabesque is to demonstrate the beautiful aesthetics of what Arabs should realize but completely ignore.
Fix The State First
poster print encased in plexiglass 2015
120cm x 120cm
Fixated on the state of the Arab image, the notion that fixing the infrastructure of a constitution before its aesthetics is what makes the difference.
What’s a shiny car worth if it’s engine is not running; the problem always relies in its core.