Pages 56-57 from IT-O-BS (2018)
— PROJECT NAME
The Blackbook (Series)
— ROLE
Illustration
— DATE
2015—2018
In aircraft technology, the black box is a device that records all data relevant to flight activity and has enormous memory, allowing us to look back at previous operations, retrieve information, and see what went wrong. That is the intention behind my work. When I draw, I record; and investigate. But I am less interested in tracking the parameters of my surroundings. Although most of the elements are representations of daily objects and people, it is rarely a conscious decision for me to illustrate any definite thing. Drawings reveal themselves with a will of their own, often resulting in fragmented images that simultaneously unfold within them mere glimpses of parallel realities, dreams, the future, and psychological insights that bring meaning to my life.
From drawing and painting to writing songs or filming a video, my creations are rooted in a practice of “profound” metaphysics that involves Carl Jung’s Concept of Synchronicity and Nick Land’s Hyperstition. It’s an “experimental (techno-)science of self-fulfilling prophecies” that allows the potential for fiction to become reality and for fictional truths to already be true in the future. I am crafting (a) path through ink, crayons, and poetry—shaping (my) world one page at a time (and) forming connections between the outer world and realms of knowledge assumed beyond what can be inwardly perceived by me or the viewer.
This unfolding interconnectedness is my biggest motivation for making art, and I began to use my sketchbook as a laboratory of ideas to be tested, studied, and manifested however necessary.
STORY FOR CONTEXT
In the weeks leading up to my first trip to Europe, I bought a sketchbook. My friends and I were headed to Sziget Festival in Budapest, and I imagined filling its pages with drawings inspired by the journey. But when the time came, I left it behind, tucked away in my bedroom closet. It felt too new, too pristine to use just yet. Instead, I told myself it would become a project for my return—a way to capture the experiences and emotions I knew would stay with me long after the festival ended. (…) Sziget was unforgettable: ten days of music, art, and connection that felt like a lifetime. It was my first time in Europe, and the festival’s spirit of freedom left a lasting impression. Yet, even amidst the euphoria, I found myself thinking about the sketchbook waiting at home. It had become a symbol of something I needed to express, though I wasn’t yet sure what that was. I only knew that I wanted to speak through images—to create something open to interpretation, something that would allow me to explore my thoughts without the constraints of words.
When I returned to Beirut, I felt a renewed sense of purpose. I walked home from the airport, an 8-kilometer journey in the August heat, as if to hold onto the freedom I’d experienced at Sziget. Days later, I lit candles in my room, pulled the sketchbook from its hiding place, and began.
I set a few rules for myself:
- Use only a 0.8 black Rotring pen and golden yellow markers.
- Number every page from 1 to 208.
- Complete one page before moving on to the next.
- Work spontaneously, without overthinking.
- Let go of doubt and embrace the process.
Over the next year, The Blackbook became a nightly ritual. I drew by candlelight, the flickering flames casting shadows on the pages as I filled them with lines, shapes, and ideas. Occasionally, I worked during the day—on weekends, at sunrise, or on days off—but most of the project took shape in the quiet hours of the night, and each page felt like a step forward. (…) Completing the Blackbook was a transformative experience. It taught me to trust my instincts, embrace spontaneity, and find meaning in the act of creation.
Looking back, I see them more than just sketchbooks—they are a record of years spent exploring, experimenting, and discovering what I had to say, and it became a cornerstone of my artistic journey, paving the way for later projects like Calmly (2017) and IT-0-BS (2018).
Calmly
2016—2017 (Page 44)
IT-0-BS
2017—2018 (Page 57)
