Several projects
Médiums : Ceramics, Mural, Drawing
Thèmes : Memory & Disappearance , Transmission & Heritage
Histoires tunisiennes ( Tunisian Stories ) — 2025
Tribute to Alexandre Roubtzoff · Galerie Roubtzoff ; Curated by Amira Zili
The women painted by Roubtzoff return the viewer’s gaze with defiance, pride, strength, and beauty. In them, I find Salha, Moufida, Zohra… Faces that feel both familiar and mysterious, one of which could have belonged to an ancestor—or even to me, in one of the paintings depicting a young mother with her child: myself with my daughter Alya. Perhaps another reality, another temporality.
Medium / Date:
Mural — ceramic tiles mounted on wood, 100 × 140 cm, 2025.
Un Prophète ( A Prophet ) — 2023
Tribute to Kahlil Gibran · Culturel Mutuelle Ville · Curator Michela Margherita
While reading The Prophet by Kahlil Gibran, I was surprised to discover that the images in the book were created by the author himself. They were black-and-white reproductions of his works, with a vaporous atmosphere and a strong influence from Western Renaissance art.
The image did not simply illustrate the text. It complemented it by adding another layer of meaning: the author’s raw thoughts, expressed in a language other than words. The reading of the book is transformed through this encounter between text and image.
In the series of five watercolours A Prophet, I used five of his images as studies. I preserved the overall composition and the position of the figures, as these were what had struck me most. I then created a kind of drawing that could weave together text and image.
Comment — Silence(s)...
“These things he speaks of with words (lines). But many others he kept in his heart without saying them. For even he could not put into words (images) his deepest secret.”
Medium / Date:
Five watercolours on paper, 2023.
Hommage à Y.Klein ( Homage to Y. Klein )- 2022 - 2023
Medium / Date:
Canvas inserted into a plexiglass coffee table, 2023.
Canvas inserted into a plexiglass coffee table, 2022.
Sous le pommier — 2018
Tribute to Abdelaziz Gorgi. Ceramic mural, Palais Khaireddine, Tunis ·
I began with a simple dream: that art could step outside the walls of galleries.
Ta7t ettoffe7a (Under the Apple Tree) depicts a scene from everyday life beneath an apple tree in the garden—or jarda—of a 1930s house in La Marsa, built by my great-grandfather.
This mural is an homage to a way of thinking—or rather, to a benevolent vision, a determined stance, an unfinished dream that has, unfortunately, become a utopia today.
Down with art buried inside galleries.
I began with a dream: that contemporary art in Tunisia could be within everyone’s reach—accessible both in its form and in its location—and that it could move towards people, rather than waiting for people to come to it.
I began with a dream: that of the 1% law, which was originally intended to allocate 1% of the construction budgets of public buildings to their “decoration” by artists.
I began with a dream: that these artists would be thoughtful enough to understand “decoration” as an engaged act.
I began with a dream: of art in streets, public institutions, homes, and gardens; of places conceived from the outset, down to their smallest details, by artists working closely with architects, engineers, and technicians, so that artists could become involved in the choice of forms, materials, colours, and every other detail.
I began with a dream: of a genuine alliance, an exchange, a sharing between artists, architects, and craftspeople.
I began with a dream: that art would finally leave the studio and meet people—making them dream, travel, move, or even repel them. It hardly matters, as long as some form of connection is established.
All these dreams were also those of Abdelaziz Gorgi in his time. Alongside Safia Ben Farhat and others, he worked towards them for decades. Today, we have gone backwards; everything has to be rebuilt, everything has to be done again.
This mural was created in collaboration with Atelier Caroantika.
Medium / Date:
Mural — ceramic tiles mounted on wood, 200 × 560 cm, 2018.
A revisitation of Zoubeir Turki's drawings made for M. Kouki's iconic cookbook "Ommok Sannefa"
« From ingestion to indigestion, from fantasy to rot »
Table of Ingestions: Utensils and Amuse-Bouches — Salivary Fantasies or Gustatory Pleasures — Raw, Cooked, Rotten — Culinary Expressions and Stagings — Indigestible Recipes and Poetry…
A cookbook—but not quite.
The table of contents sets the programme: from ingestion to indigestion, from fantasy to decay.
Inside is an homage to Z. Turki, who created a series of drawings especially for the publication of Ommok Sannéfa by Mohamed Kouki, a landmark book of traditional Tunisian cuisine.
I took each of Turki’s drawings as a starting point: preserving the gestures and overall compositions while modernising and updating the scenes. A dialogue between two eras, two perspectives on the same gestures.
Medium / Date:
Artist’s book, 2013.
→ See also : My Father’s Garden - El Khadhra Project - Family album