Egyptian Streets recorded a podcast with me a while back, which just went live yesterday. Give it a listen if you don't mind a ton of “umms” and the way I click my tongue.
This coming Saturday, ArteEast is hosting a virtual discussion on Zoom between Bassem Yousri and myself, moderated by Lara Baladi.
Should be fun!
The Manhattanville College event for Saturday has unfortunately and very suddenly been cancelled. But, in other news, a new editorial by Rawaa Talass has gone up on Artsy: 10 Middle Eastern Artists to Discover
Although I have been living a few thousand miles from anywhere remotely close to the Middle East for quite a long time now, I am humbled and honored to be included alongside such incredible artists. I mean c'mon, Ahmed Mater? Nicky Nodjoumi! Ruba Salameh! Every one of the artists named on that list makes such powerful and incredible work, and literally any one item from their output would instantly upgrade any museum's collection.
Humbled and thankful.
Just finished one “half” of a mixed-media diptych destined for the Arab American National Museum in Dearborn, Michigan. Aiming to finish the rest before month's end. Both are a continuation of my IMMIGRANT BLUES series, one of which is now showing at ArteEast's LEGACY TRILOGY exhibition in collaboration with Artsy. I also recently finished illustrating and designing a new cover for Radix Media's forthcoming edition of THE SOLAR GRID #1 (for which a reveal will come later). Showing now at The Media Majlis of Northwestern University in Qatar is an exhibition titled THE POWER OF PROTEST curated by Hadeel Eltayeb. Four posters of mine are included, part of my TROUBLE TRUNK acquired by Northwestern University through my pals at Booklyn. Radix Media's stock of WE ARE ALL THINGS has sold out and is slated for a second printing. I do however still have some copies in the Garage available for sale.
A virtual comix mini-fest hosted by Manhattanville College and Radix Media is taking place on March 20 for which I'll be discussing some THE SOLAR GRID process stuff.
THE SOLAR GRID #6 is trudging along slower than I would've liked (surprising no one), partially because... well, All The Things (see above) and largely because it has turned into a weird meditation on faith that has sent me down a deep and—dare I say it—wonderful rabbit hole. More on that soon.
Hoping to also get the new cover for issue #2 finished by the end of the month, although that may prove to be a tad bit ambitious. In addition to all this, there's a rather large commission on the horizon than requires some extensive planning.
Life in the 1000 mph lane is real and not for everyone. And if you're an artist/creative of any kind it requires mastering the balancing act between the cold hard world of practical planning and scheduling and hitting targets... and the fluid boundless world of mad but beautiful dreaming.
Successful weekend getaway out to Wimberly, a small idyllic town in the hill country a few hours away from Houston (closer to Austin really). Moony saw his first donkeys and ponies, and I got a kick out of seeing my first llamas, which the wife insists are not as weird as camels (what?!).
It provided for a much needed disruption of the routine we've established at home in Houston. Routine is good for keeping the machine-of-life running smoothly, but terrible at making life interesting. But that's what the not-so-frequent intended disruption is good for. The accommodation, sat on a ranch with floor-to-ceiling windows overlooking lush trees and a pond, was a sight for sore eyes and a prime example of design-forward architecture for the countryside. Although a small one-bedroom, the high ceiling and ample natural light made it feel spacious and—dare I say—luxurious. And I'll admit made me long for a proper studio space away from the house, which has increasingly been overtaken by Moony (which, if you've ever had a baby, know is only natural). Not ideal for art-making, which for me requires inducing oneself into an almost trance-like state, whereupon you're fully absorbed in the ideas and world you're creating. Not so easy to do if your child sees themselves an opera singer.
It was good to be in nature for a moment though, and think.
Yesterday was the virtual VIP preview of ArteEast's [also virtual] exhibition THE LEGACY TRILOGY.
I gotta say, even though virtual openings cannot compare to the real thing, it was so so nice to see some familiar faces yesterday (folks like Heba Alkayal, Bassem Yousri, Hadieh Shafie, and Shaymaa Aziz) as well as new faces (like Olivia Farahat, Beth Stryker, Sofia Zubi, and more!).
The roster of artwork and talent on display is simply phenomenal. No two artists in the 50 participating are alike and it really goes to show you the breadth and diversity of expression and craft coming from artists of the MENA region and its diaspora. It's humbling to have my work on display alongside such stellar works. Hopefully we get to do it again in meatspace... one day.
I've been meaning to write for quite a while now, and in particular following the recent Texas blackout. It raised all kinds of thoughts I had in regards to capitalism vis-à-vis failed states, but it also had me playing catch up with much work in need of getting done. That, together with some sudden health issues in addition to a growing child in demand of constant attention has reduced one's days to a consecutive series of stolen moments. 🤪
All I can afford right now is a quick mention of a couple of work things:
One:
Climate change has flooded the Global North and a terrible pandemic has decimated White populations. In comes a museum in the Egyptian city of Tanta to commemorate the history of white people, now reduced to a minority in need of aid. Ahmed Naji writes and I draw for ARTS OF THE WORKING CLASS.
Two: Chatted with Radix Media's Sarah Lopez about some process stuff regarding THE SOLAR GRID for this year's [virtual] Printed Matter festival! (You can check it out by clicking here and scrolling down-Be sure to check out many of their other wonderful books on offer too!)
Deep cleaning the garage studio this morning (it is much needed), and then sitting down to sign and number 100 of these bad boys.
Y'know, just another weekend.
Had the pleasure of chatting with Ryan Harvey for HOPE DIES LAST, his fantastic podcast on the intersection between art and protest in the face of injustice and authoritarianism.
The Art Newspaper surveyed a few art practitioners on the Arab Spring's legacy on art. Click, read, and cringe.
Deutsche Welle also did a story on the influence of Egypt's revolutionary street art some ten years ago.
On a completely different note, Pea Protein is a major migraine trigger apparently. 🙂🔫
(Above image from sometime in 2012.)
Did the cover art for FLAP MY WINGS, the album, which The Lazours dropped on January 25th. I've been listening to the thing on repeat since, memories from 10 years ago rushing back and igniting feelings of anguish, empowerment, and inspiration. The album is a tour de force and includes powerful collaborations with the likes of Hamed Sinno, Ramy Essam, and Emel Mathlouthi!
Available on Spotify and Apple Music.
Video Art for FLAP MY WINGS, a song by The Lazours, brought to life with the animation magic of Paul MacLachlan. Conceived with Taibi Magar, and executive produced by Madeleine Bersin.
Vocals: The Lazours Guitar: Daniel Lazour Piano and arrangement: Madeline Smith Bass/qanun: John Murchison Percussion: Jeremy Smith Violin: Bengisu Gokce Cello: Naseem Alatrash Select orchestrations: Michael Starobin Mixing: Robin Buyer Mastering: Ryan Schwabe