What Barriers Do We Face? Elkassouf’s New Sculptures Answer

by Alexandra Mansilla

What Barriers Do We Face Daily? Tarek Elkassouf’s New Sculptures Have the Answer

15 Oct 2024

Photo: Tarek Elkassouf’s personal archive

Tarek Elkassouf, whom you have seen featured on our pages before, is an incredible sculptor with impressive works where every detail holds significance. For example, in 2023, he had an exhibition titled "The Future Is Near", where Tarek explored all stages of grief. Every object in this exhibition wasn’t just placed there by chance. Every cut was made for a reason, and even the gold was used deliberately and with purpose.

This time, Tarek will be showcasing his works in the The Bassam Freiha Art Foundation’s Sculpture Garden (where you will also find Anthony James’s Infinity Light sculptures, made from steel, glass, and LEDs). This new series is called "Boundaries".

It consists of 29 limestone sculptures adorned with 22k gold, investigating the intangible barriers that shape how we perceive the world around us.

At Annex Gallery, Tarek will also present another exhibition titled “Lines from Letters”. This exhibition is a form of storytelling that allows the viewer to understand the origins of a piece of art. It invites them to look beyond the surface and discover what lies within and beyond the artwork.

What kind of barriers does "Boundaries" explore? Why did Tarek choose to use gold again in these sculptures? And why did he decide to break down his works on paper and share them with the audience? We asked Tarek these and other questions.

Note: You can view Tarek’s works at The Bassam Freiha Art Foundation until February 16, 2025.

— Tarek, where did the name "Boundaries" come from? What made you think about boundaries in particular? Was there something happening in your life that influenced this work?

— My recent transition from Lebanon to the UAE had an impact on the development of Boundaries Installation. It made me reflect on the invisible barriers that shape our lives, often without even realizing them. The backdrop of the war, with all the instability that comes with it, the economic struggles and political limitations with what can be done, has truly shaped my perspectives on real-life boundaries.

The constant presence of division, whether through borders, religions or politics, can make people feel trapped every day… This feeling of being stuck can create many internal boundaries, a kind of resignation to the circumstances, which is why moving allowed me to think about these structures.

However, the installation is not just about breaking the walls; it is also about understanding that some boundaries are necessary.

— You mention that this sculptural series in the outdoor space explores the unseen barriers we face daily. Which barriers are you referring to?

— The concept of "Boundaries" stems from the idea that from the moment we are born, we are already shaped by a series of invisible barriers — some by society and some by ourselves.

These boundaries can take forms like the country we are born into, the passport that we hold and even the names and surnames we bear, all impacting how others view and engage with us.

On a personal level, we tend to set our limits based mostly on fear. The things we think we can't do or achieve or the boundaries we put up for ourselves that end up being like glass ceilings that we find hard to surpass. These are the limits that hold us back without us realising it.

But not all boundaries are negative. There are limits that we should establish in our lives and workplaces as well, to guide us in self-discovery and asserting our individuality.

Photo: Tarek Elkassouf’s personal archive

— How are these barriers represented in the sculptures? How can we see them?

— The 29 sculptures in the "Boundaries" installation physically embody barriers. It disrupts the flow of movement through their placement within the installation space at the Bassam Freiha Art Foundation’s outdoor exhibition area, spanning 35 metres long.

This positioning facing the Foundation's exit isn't random. It reflects how we encounter limits in life. At times, they catch us off guard, and we must figure out how to deal with them. When experiencing the installation, visitors have a decision to make: Do they directly confront the obstacle by interacting and finding their way through the sculptures, or do they opt to go around it and avoid any interaction altogether?

The size and scope of the installation create an altar for contemplation, leading visitors to adjust their movements, either slowing down or prompting pauses.

— You are using gold again in this series. What does it symbolise here?

— Gold, to me, is more than just a material. It is a bridge between Beauty and Spirituality. Whenever I work with gold, there is a sense of being part of a conversation that is outside of time. The act of gilding a sculpture goes beyond technique; it is a ceremonial process. As the delicate gold leaf touches the stone, it feels like a sacred offering. A tribute to the ongoing act of creation.

The delicate gold leaf gently adheres to the stone with a sense of approval, as if the material itself recognises their bond. The moment is quiet, almost meditative. Time bends, and in that silence, a special connection unfolds.

In this exhibition, I created a way to use the qualities and richness of gold to inspire my exploration of self-awareness and personal growth journey. By infusing gold into the sculptures, I seek spiritual introspection. In this context gold serves as a symbol for change.

— The series includes 29 limestone sculptures. Is there a specific reason behind this number?

— The decision to include 29 limestone sculptures in this installation is intimately connected to the location of the exhibition. The sculptures are positioned to interact with the elements of the architecture. The podium supporting them stretches across the width of the building to establish a conversation between art and its surroundings.

Each sculpture is strategically placed to mirror the building's lines.

This installation tries to play with the viewer’s perception of what is inside and what is outside. From within the building, every glass window acts as a frame for the sculptures, almost turning the exterior into an exhibition space in itself. The roles are reversed. What is usually confined within the controlled settings of a gallery or museum is now outside, in view of nature and the public eye. There is a new interaction between the visitor, the Artwork and the Architecture, transforming the building into a living gallery.

— Was it important for you to place these sculptures outdoors? If so, why?

— Yes, absolutely. Placing these sculptures outside was a choice to make art more approachable and inclusive to audiences beyond just art enthusiasts or connoisseurs who may find galleries and museums intimidating or exclusive at times.

By moving the artwork outside these controlled environments and placing it outdoor, we break down these barriers. We are dismantling those boundaries to create a connection, between the art and its environment, under the sun... Most importantly, in the company of people too.

This transition into the open air transforms how viewers engage with art; it becomes an experience rather than a passive one as individuals unexpectedly encounter sculptures and freely interact with them without the formalities and constraints found in traditional indoor settings.

Outdoor, the sculptures aim to create a new kind of space: one that invites reflection, inspiration and connection.

Photo: Tarek Elkassouf’s personal archive

— The "Lines from Letters" — Why did you decide to put your works onto pages?

— I decided to put my work on pages to explore the intimate relationship between writing and drawing. The “Lines from Letters” exhibition examines the origin of written words transforming into lines. Each piece of writing becomes a foundation, shaping and framing the Artwork. It invites the visitors to reflect on how stories and words shape our perception of invisible boundaries.

My work into paper: the drawings, leporellos and ink works were a reflection of the progression of ideas and emotions. The cutouts and gildings serve as windows, inviting viewers to look beyond the surface and discover what lies within and beyond the Artwork.

This process allows me to examine the impact of storytelling and unspoken feelings, on the shapes and forms that come to life on paper. The fine and precise linework show a range of interpretations from raw expressions to detailed studies. As visitors move through this process they can observe how words gradually evolve into visual lines, creating a dialogue between the written and visual language.

Photo: Tarek Elkassouf’s personal archive

— What will we find on these pages? And what are the things we definitely won’t find?

— On these pages, you will find deeply personal exploration of thoughts, emotions and the creative process. Writing becomes a dialogue between myself and future self: a way to arrange untamed ideas. The ritual of writing guides me through news territories within me.

What you won’t find here is absolute clarity. There is no blueprint or clear map. These words are fluid and sometimes directionless; similar to attempting to grasp shadows or capturing fleeting ideas. Instead, you'll find a balance of overthinking and release of the mystery that makes writing both difficult and profoundly significant.

Every word and line I put down is like sculpting the Artwork. It shapes how I see the world around me, and understand the landscape within. The blank page becomes a reflection and a mirror, reflecting the calm and the fire that fuels my process. Throughout it all writing is rhythmic and vital, much like breathing — a quiet meditation of both the seen and unseen.

by Alexandra Mansilla

What Barriers Do We Face Daily? Tarek Elkassouf’s New Sculptures Have the Answer

15 Oct 2024

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15 Oct 2024

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