"El-Zhora was not born in a day" sheds light on an obscure part of Arab culture and heritage and revives forgotten polytheistic myths from Ancient Arabia. It delves into the stories of the old Muslim chroniclers, Koranic and biblical texts, classical Arabic literature and the vast realm of preislamic poetry to put origin myths under the spotlight.

Using photographic technologies, I sex, resex, and unsex my models. Photography and digital manipulation permit the symbolic remaking of the single sexed body into the infinite realm of possibility.

Beirut is currently witnessing a construction boom. To advertise construction projects, developers display large billboards in situ reproducing the future of these structures. They simulate the edifices, their surroundings, imaginary residents and their lifestyle as a marketing strategy to sell their product. The artist captured the virtual images of these billboards framed within their real environment. She makes use of scale, layering and image framing to underline a critical reading of Beirut's urban future.

“parallel universes” explores the interactions between separate and simultaneously occurring realities. The viewer is asked to contend with new dimensions of understanding, where horror and leisure co-exist in the same frame. This hyper-realistic framework reveals the duality of war and relative peace which prevails in Lebanon, while also asking the spectator to redefine the limits of his/her relationship to images and reality.

“abandoned rooms” received the "No Limit award" at les Rencontres Photographiques d'Arles in 2006 and the first price during les 5èmes jeux de la francophonie in 2005.

“abandoned rooms” is a series about fragmented lives, lives that are stuck between the reality of the changeover and the haunting ghost of the war. They speak of the past in the present, of presence in absence, of death and survival, of what is forgotten and what lingers, what rots and is transformed.

“la grotte aux pigeons” depicts young men and boys jumping off Beirut’s coastal cliffs facing the notorious arch-like "Pigeon’s Rock". The photographs emphasis an exaggerated display of machismo that defines male-to-male relations in patriarchal societies.

The photographs embody a lurking paradox - the timelessness of Beirut in spite of modernity and the postwar policy of reconstruction.

“the sniper” are black and white slides projected from an old slide projector and later captured by video.

I regularly visited a building in Beirut which was demolished by war. One day i started "shooting" the pedestrians that were crossing the street.

video: 4min27 . PAL . stereo