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“A single object can reveal different readings depending on where one stands.”

For some time now, I have been reflecting on the notion of positioning: how a single object can reveal different readings depending on where one stands, but also on the history, memory and identity each of us carries. This reflection is rooted in my own lived experience. Born in Montréal of Moroccan heritage, I situate myself in a shifting cultural in-between — never fixed — that resists rigid categories.

The project takes the form of an installation made up of a series of thirteen paintings of different sizes, alternating between traditional Moroccan Tarz fabrics and raw cotton canvases, mounted on stretchers. Some textile supports are partially covered with painterly interventions, while others remain bare.

The choice to work with Tarz fabric stems from a desire to engage a material charged with memory, while refusing to freeze it in a decorative or folkloric function. Its coexistence with raw canvas introduces a material discontinuity that makes perceptible the constant movement between heritage and transformation. The installation is conceived in relation to the architecture of the space, to reinforce the idea of passage and threshold.

Through this project, I invite viewers to move, to adjust their gaze and to accept a fragmentary reading, in which identity, like matter, reveals itself through layers and continuous shifts.