They took their last resort for survival, escaping through the sea. They’ve weighed the risks and chose their best option. The boat that was meant to rescue them caped down and took them to their new welcoming home, their “land of safety”. They’ve been finally granted the “right to asylum.” No visa required, all are welcome, even the Syrian refugees.

أخذوا الملاذ الأخير للبقاء على قيد الحياة ، والهروب عبر البحر. لقد وزنوا المخاطر واختاروا الخيار الأفضل . القارب الذي كان من المفترض أن ينقذهم انقلب وأخذهم إلى وطنهم الجديد ، "أرض الأمان". لقد مُنحوا أخيراً "حق اللجوء" حيث لا تأشيرةٌ مطلوبة، الكل مرحبٌ به، حتى اللاجئين السوريين

Ils ont pris leur dernier recours pour survivre, s'échappant par la mer. Ils ont pesé les risques et choisi leur meilleure option. Le bateau qui devait les sauver a chaviré et les a emmenés dans leur nouvelle maison d'accueil, leur «terre de sécurité». Ils ont enfin obtenu le «droit d’asile». Aucun visa requis, tous sont les bienvenus, même les réfugiés syriens.

Aleppo cast veils, sheets, and blankets masking its streets. They had a previous life of comfort and warmth in its inhabitants’ homes. Now they are stretched in between buildings, trying to confuse the snipers’ bullets. Men, women, and children are treated to the same fate when the sun shines brightly upon the fabric or the wind moves it. We watch reality become television, and television becomes a reality.

.ألقت حلب أغطية القماش و الشراشف التي كانت لها حياة سابقة من الراحة والدفء في أسرة ومنازل سكانها. الآن هي متناثرة بين المباني، تحاول إرباك رصاص القناصين. يلاقي الرجال و النساء و الأطفال نفس الصير عندما تشرق الشمس و تهب الريح لتكشف ما خلف القماش. نشاهد واقعاً يعرض على التلفاز، و مشاهد تلفازية تصبح واقع

Alep a jeté ses voiles, ses draps de lit qui avaient vécue une vie de chaleur et de confort dans les lits et les maisons de ses habitants. Maintenant, ils sont étirés entre les bâtiments, essayant de confondre les balles des tireurs d'élite. Hommes, femmes et enfants subissent le même sort lorsque le soleil brille sur les draps ou que le vent les déplace. Nous regardons réalité devenir télévision, et télévision devenir réalité

Red Line

The Red line has been an abstract threat. A red line was put to prevent massacres and destruction, a promise of intervention to protect a country from chemical attacks, a promise that the world is watching but the world can’t keep its promise.

الخط الأحمر، تجريد لتهديد. تم وضع خط أحمر لمنع المذابح و الدمار، ووعد بالتدخل لحماية بلد من هجمات كيميائية، و هو الوعد الذي يراقبه العالم و لكن العالم لا يستطيع الوفاء بوعده

“WARMTH IS COMFORT
Wood, spices.

…Even in the summer.” Sometimes at the cost of the trees, the furniture, the antique pieces, passed down from grandparents to grandchildren. The romancing of these objects is for the faint of heart, watching with horror from a distance. The ones left behind are survivors.

الدفا عفا ... حتى في الصيف. " في بعض الأحيان على حساب الأشجار ، و الأثاث والقطع الأثرية المعطاة من الأجداد إلى الأحفاد. الرومانسية لهذه الأشياء هي لضعاف القلب الذين يشاهدون برعب من بعيد.

la chaleur est confort… Même en été. » Parfois au prix des arbres, des meubles, des pièces d’ antiques qui ont étaient transmit des grands-parents aux petits-enfants. La romance de ces objets est pour les faibles de cœur, regardant avec horreur à distance. Ceux qui restent sont les survivants.

“House on a Dream” is a wooden chest on stand. The stand is inspired by one of the historic houses, Ghazala House, built in the seventeenth century, in the Judayda Quarter of old Aleppo. Bayt Ghazaleh, that have been damaged by the war. The drawer pulls are carved music lyrics in Arabic.

Music is part of the history and present of Aleppo. it is speculated that the tradition of singing developed in a musical favorable environment. The tall walls made of big blocks of stones surrounding open courtyards produced echo and amplified the sound. craftsmen sang while they worked, the mason hitting and shaping the stones would sing and toil to the rhythm of the music.

Songs are traditionally started with the expression “ya laylee, ya layl” - “oh my night, Oh night” as represented in the carving on the drawers’ pulls of the chest of drawers. The repetition of the words allows the singer to show off their singing voice, as well as convince the listener of the authenticity of their words. They are confiding in the solitude of night. “Ya layla ya ein” sets the emotion of a song, it could be slow-paced, melancholic but also can transform into an upbeat chant to dance to.

Photos of different sections of the house line the inside of the drawers, just like memories, they communicate an essence in a chaotic and fluid way. The stand of the chest represents one of the facades compromising a large arch, which has been completely destroyed.

Nostalgia for the time spent along the walls of Aleppo. I met their stones with admiration. They told me about their evolution under the rays of sunlight and the touch of their maker’s hands. They witnessed chanting, music, the sounds of everyday life, and to its end, the sounds of battle and sounds of their own cracking and violation. They lay wounded, confused. Some of them dispersed in pieces, trying to remember. Some of them lost and far from home, some of them await, refusing to give up hope. They rejoice in the rays of sunlight again and again.

اتذكر لقاءي بحيطان حلب القديمة. قابلت أحجارها بإعجاب. أخبرتني عن تطورها تحت أشعة الشمس ولمسة أيدي صانعهم. لقد شهدت أصوات الغناء والموسيقى ، وأصوات الحياة اليومية ، و نهايتها، و أصوات المعركة وأصوات تصدعها وانتهاكها. الآن تستلقي بعضها بجروحها و حيرتها . تفرّقت بعضها عن بعض ،اندثرت محاولة التذكر. بعضها ضاعت و ا فقدت بيوتها ، بعضها تنتظر ، رافضة التخلي عن الأمل. تبتهج تحت أشعة الشمس مرارا وتكرارا.

Je me souviens rencontrer très tops les murs de l'ancienne ville d'Alep. J'ai rencontré leurs pierres avec admiration. Ils m'ont raconté leur évolution sous les rayons du soleil et le toucher des mains de leur créateur. Ils ont été témoins des chants, de la musique, des sons de la vie quotidienne et, à sa fin, des sons de bataille et des sons de leurs propres craquements et violations. Ils gisaient blessés, confus. Certains d'entre eux se sont dispersés en morceaux, essayant de se souvenir. Certains sont perdus et loin de chez eux, certains attendent, refusant de perdre espoir. Ils se réjouissent encore et encore sous les rayons du soleil.

In the narrative of war personal identity is transformed and altered by the events and displacement. People lose a part of their individuality as they compare their stories to others. Friends and family are on the same page in their grief and consolation, but facing the rest of the world the individual feels trapped in a repetitive loop, personal development is transformed into regression and confusion.

في احداث ​​الحرب تتحول الهوية الشخصية وتتأثر بالأحداث والنزوح. يفقد الناس جزءً من فرديتهم عندما يقارنون قصصهم بالآخرين. الأصدقاء والاحباء على نفس الصفحة في حزنهم و مشاكلهم ، لكن الشخصية الفردية تتضاءل وتنسى ما هية. عند مواجهة العالم يشعر الفرد بأنه محاصر في حلقة متكررة ، يتحول التطور الشخصي إلى انحدار وارتباك.

Dans le récit de la guerre, l'identité personnelle est transformée et altérée par les événements et le déplacement. Les gens perdent une partie de leur individualité en comparant leurs histoires aux autres. Les amis et la famille sont sur la même longueur d'onde dans leur peine et leur consolation, mais le caractère individuel est diminué et oublié. Face au reste du monde, l'individu se sent pris au piège dans une boucle répétitive, le développement personnel se transforme en régression et confusion

Secondary intention healing means a wound will be left open to heal by itself, rather than the sides of the wound being stitched together, filling in and closing up naturally. The wounds of the city grow bigger along with their neglect. However healing will take form one way or another

The architecture of Medieval Aleppo illustrates a unique development of Islamic architecture and urban life. Stones were the main building material, largely using yellow limestone and interlacing it with white limestone and/or black basalt for ornamentation and contrast. The skilled interlaced masonry withstood centuries without failing or losing its shape and sharp corners, however, it becomes delicate faced by missiles and falling down explosive barrels that claim life, history, and culture.

Entry gate replica of Bayt Ghazaleh on fabric. Bayt Ghazaleh is one of the largest palaces in Aleppo from the Ottoman period dating to the seventeenth century. The gate is a fine example of the stone interlacing of limestone and black basalt carved in a floral design. It was put on a no-strike zone by international effort, however to no avail. The stonework around the gate has been damaged, and parts of the house have been demolished by the bombing. This piece size approximates the originate gate, the fabric evokes its temporality and transformation

This piece is inspired by the gate leading to the Governor’s residence in the citadel of Aleppo. The ornamentation on the gate made by the locking stone and marble are repeated in fused glass, capturing the fragility of the long standing landmark faced by the destructive force of war.