What sets Geneva apart from other European cities?
Although I’ve traveled all over the world, there is nothing quiet like Geneva’s quality of life. It’s a city known for its beauty and peacefulness. With four official languages and a reputation for neutrality, Switzerland has a thriving community of expatriate polyglots, many of whom work in Geneva for international agencies such as the Red Cross and WHO. It’s worth visiting the Palais des Nations, which is home to the second-largest United Nations office, after New York. The city’s cosmopolitan history also dates back to the Romans, whose influences can still be found in Geneva’s architecture.

Has Geneva’s retail and design scene evolved over the years?
It has definitely evolved in the last 5 years, with the emergence of a new breed of cutting edge boutiques and galleries. Septième étage on the Rue du Perron showcases coveted New York labels such as Alexander Wang (my personal favorite) as well as the work of avant-garde international designers. For affordable jewelry and unique handbags (including a selection from Beirut’s own Sarah’s Bag and C by Cynthia), head to Colie Boutique in Geneva’s Old Town.  To discover contemporary Swiss design, stop by Philippe Cramer’s atelier at 8 rue de la Muse. The New York-born Cramer, who is a Parsons School alum, designs everything from furniture, to lighting and glassware. Recently he launched a line of nature inspired jewelry that caught the attention of Vogue editors.

Where is the best place to experience the city’s culinary scene?
Thanks to its multi-cultural population, dining out in Geneva offers a huge range of culinary options. On a cloudy Sunday morning, my favorite place for brunch is Le Pain Quotidien in Champel. The country-chic boulangerie /café is known for its organic artisanal breads and delicious tartines. Traditional Japanese cuisine can be found at Kakinuma in Eaux-Vives. Its intimate dinning room is the perfect venue for a low key dinner with friends or a romantic date. To savor the best pizza in town, head to the recently opened Luigia on rue Adrien-Lachénal. Housed in an industrial loft-like space, this restaurant has become the preferred dining spot for the city’s chic young set. For pre-dinner cocktails, the Leopard Room at the Hotel d’Angleterre offers a cozy piano bar and intimate lounge area.

What is your favorite area of the city?
Geneva’s Old Town is probably the most atmospheric and liveliest quarter in the city. Its cobble-stone streets, medieval buildings, antique shops and art galleries capture the city’s 2,000 year history. My one-bedroom apartment in the heart of Old Town is a block away from the charming Place du Bourg-de-Four. Looking out on the square is La Clémence, a café whose terrace is a popular meeting place during the summer. I also recommend visiting the Saint Pierre Cathedral. After a lengthy climb up its north tower, you will be rewarded with breathtaking wraparound views of the city.

What are the buzzy cultural areas?
The area around the artsy-boho district of Plainpalais is home to a vibrant art scene and a buzzing cultural community. The Museum of Modern and Contemporary Art, is housed in a former 1950s factory, while neighboring streets are home to innovative art galleries such as the cutting edge Analix Forever, which showcases new media and virtual art. The Musée d’Art et d’Histoire in Old Town, houses an impressive cross-section of art history. This includes a collection of Egyptian, Greek and Roman antiquities, as well as works by 20th century masters such as Pradier, Rosin and Giacometti. For a real treat head to the museum’s hip café/restaurant, Le Barroco.

How did the idea behind the XXeme Siecle gallery come about?

Ever since I was 14, I’ve had a passion for mid-20th century furniture and art. The first piece I acquired was a console by Jean Royere that belonged to my grandmother. Around the mid-90’s both Hala and I were living in Paris. It was a period when mid-century design was enjoying a revival, particularly in trendsetting cities such as Paris and New York. But the craze hadn’t reached Beirut yet, so we decided to return to Lebanon and open a gallery. We wanted to offer both Lebanese and Arab collectors authentic 20th century furniture and objets d’art, particularly from Lebanon’s golden age from the 1950’s-70’s.

Why is that period considered Lebanon’s golden age?

Beirut is a great place to collect the works of some of the most celebrated designers of the 50s and 60s. During that time, beautiful furniture was not only being imported from Italy and France, but also made here. In the 1950’s, the iconic French designer Jean Royere ran a thriving studio in Beirut with Lebanese architect Nadim Majdalani. Amongst their projects were designing interiors for the St. George Hotel, the Shah of Iran and King Farouk of Egypt. Pre-war Beirut was a Modernist paradise and west Beirut was the most fashionable neighborhood in the Middle East.

What do you enjoy the most about collecting mid-20th century design?

There is a lot of research and detective work that goes into finding new pieces for the gallery. Amongst our rarest finds was a low curvy wooden table and stools designed by Charlotte Perriand in the 60’s for a French ski resort. Perriand, who collaborated with Le Corbusier, is probably one of the most sought after designers today. Another memorable item was a limited-edition rotating chair designed in 1965 by Joe Columbo. It was not only featured in a James Bond movie, but was rare because its original leather was in such good condition. At the same time, we also carry interesting high-quality pieces produced by unidentified craftsmen in Beirut from the 50’s, 60’s and 70’s.

Was it difficult to source pieces for your gallery when you first opened?

Surprisingly it wasn’t difficult early on. Beirut in the mid-90’s was busy rebuilding itself after years of civil war. Interiors untouched since 1975 were stripped without a thought and furniture discarded onto dumpsters. People also began coming to us with things to sell once we opened the gallery. We once received a call from a dealer who had originally imported a number of carpets to Beirut in 1968, but never sold them. The carpets, some designed by Victor Vasarely, had been kept in storage for over 30 years, all in pristine condition and still wrapped in plastic. Today, it’s getting harder to find vintage pieces in Beirut because of heightened interest. So for the last seven years we’ve been looking in Europe for specific pieces that we can’t find in Lebanon, such as works representing Scandinavian, French, Italian and Brazilian design.

Who are your clients?

We tend to attract a younger clientele, who want to discover the furniture and memorabilia of their parents’ generation. To individuals in their 50’s and 60’s, this kind of furniture may appear démodé, because they lived with it the first time around. My greatest satisfaction is sharing my knowledge of mid-20th century design with my younger clients. The gallery also has a well-stocked bookshelf to encourage visitors to linger, and even if people don’t buy right away, I want them to leave feeling they have learnt something new.

All images courtesy of XXeme Siecle Gallery and Joe Kesrouani

Globally anticipated has been the opening of the Burj Dubai, in its 828 meters of glory, lays monumentally haute of art. Taking the time out of the speedy upcoming Art Dubai Fair in March, Ms Fekri, talks Middle East, politics, fashion and fascination.

What first attracted you to the integral world of art?

I studied fine art at Central Saint Martins and realised that I didn’t enjoy making art as much as I liked writing about it. I did a couple of internships in galleries in London, before doing my MA in the management of the arts. It just continued from there on. I’m one of those people that love the field I work in, and wouldn’t want to do anything else!

Why Art Dubai? Why not the Met in New York or Tate London?

They are both very different and operate on very different structures. The Met and Tate are national galleries that operate all year round, and have a constant rotation of exhibitions, whereas Art Dubai is a contemporary art fair, that occurs once a year, through a plethora of events that materialize for one week. The main focus being contemporary commercial galleries that exhibit their represented artists. I find the whole idea of building up to the event interesting as one is constantly faced with challenges.

Is there an obvious synergy between the world of art and Middle Eastern culture that cultivated you to work in such an area?

I’m from the UAE, and have studied the arts – so it is a simple combination of my heritage and my passion. As a child growing up, the arts were virtually non-existent. I now have first hand experience of watching it grow and diversify. I think my colleagues and I are very lucky to be part of this development and growth of cultural infrastructures in the region.

What response do you hope to achieve being involved in Art Dubai?

To provide this region with a good source of contemporary arts education, and to continue with making the fair bigger, better and more diverse through curating projects, and artistic discourse.

An archived interview with ZOULIKHA BOUABDELLAH saw you propose the question, ‘who are your largest influences’, is this variable taken into account when sourcing artists for the fair?

Zoulikha was one of the recipients for the Abraaj Capital Art Prize last year. When going through the selection process for the prize, it isn’t a major factor that is taken into account with the selection committee – but it is always interesting to see whom or what influences artists– and it often ranges from philosophers, contemporaries, through to musicians and politicians.

Do you consider yourself an objective critic when writing for the Art Dubai journal or do you draw on personal preference and experience?

It depends entirely on who or what I am writing on, particularly in a region that is sensitive such as this one. Sometimes, I need to be careful with what I say in review, as it might be offensive to someone else, but a lot of the time when I am doing interviews I often try to draw questions from personal experiences.

Do you have any parallel projects running along side your work at Art Dubai?

I do some freelance writing for various publications that are Menasa based, and this summer I will be curating a programme for an art collective that are based in ‘neutral’ waters between Israel and Palestine.

Studying the world of art is a new trade to me, what artists would you recommend I look up?

I have lots of respect and admiration from artists from the Menasa such as SAMA ALSHAIBI, NAIZA KHAN, GONKAR GYATSO, RAMESHWAR BROOTA, ALI REZA, and HASSAN HAJIAJ.

As this is a fashion website musing question to finalise, what’s in your handbag?

Sadly not much; A fountain pen, a couple of dollars, a cosmetic essential; cocoa butter lip balm, travel memorabilia; an old airplane ticket stub, sunglasses, my purse, and my notebook, (always have that to jot down inspirations, new artists, concepts and designs that can be utilised- you often discover magnificent art in the most unsuspecting of places).

Written by Claire Levick

Images courtesy of  Reem Fekri

You’ve had an interesting upbringing. How has that influenced your approach to art?
I was born in France and raised in Lebanon before moving to the United States, where I got my degree in Graphic Communications and Art History. I initially began making sculptures and was featured in a number of art exhibits in the U.S. with some intriguing titles such as “Proper Hygiene”, “Candy from Strangers” and “Crime Scenes”. In 2007, I returned to my roots in the Middle East and began working with mixed media and painting.

Your work seems reflective of a Middle Eastern Pop Art movement sweeping through the region that draws on iconography from popular Arab culture. Why do you think that is?
I’ve always drawn inspiration from those iconic images, because they reflect the experiences of a younger generation of Arabs who came of age between the East and West. It’s a reflection of what we grew up watching on television, the music we listened too and even the food we ate. All of that has shaped our visual culture.

Where do you source your inspiration?
Everyday objects. I’m especially intrigued by the advertising and packaging you’d find in a supermarket. When you see a typical western product such as a box of Tide rendered in Arabic script, it takes on a completely different meaning. In a sense my paintings are a sly nod to the consumerist culture in which we live. You could draw parallels to the consumerism found in the Middle East today, to what was going on in America in the 50’s and 60’s.

Any inspiring art scenes in the Middle East?
I would have to say it’s Beirut. There is so much energy there in terms of what’s going on in art and design that you can’t help but be inspired. You could walk through Gemmayze’s winding streets and find an amazing piece of Arabic graffiti on a wall, and then enter a boutique and see a clutch by Sarah’s Bag with the exact same graffiti on it. There is a freedom of experimentation there that brings immediacy to the art scene, that you just don’t find in other parts of the region.

What are some of the gems you have discovered in the Saudi Capital?
The King Abdul Aziz historical area has miles of landscaped gardens and waterfalls, and on Fridays it is filled with hundreds of Saudi families. Picture Central Park in the middle of Riyadh, filled with kids playing, women getting henna, men lounging with coffee in one hand and prayer beads in the other. Not far is the Qasr Murabba, King Abdul Aziz’s palace, which was built in 1946 and gives you an idea of what the capital was like prior to the oil boom. The reception rooms are still filled with the original furnishings, and display traditional costumes and weapons.

Al-Khalifa draws on her yoga and aromatherapy knowledge to concoct oils and serums out of some of nature’s most precious ingredients. Better yet, her formulas unite unexpected ingredient pairings, which coalesce to create subtle fragrances without any of the overwhelming aspects of synthetic scents.

“I choose my ingredients by their power of nourishment and beauty,” Al-Khalifa says. “Sometimes a single ingredient will be so powerful and iconic that it grabs me through the romantic associations and stories it carries.”

Apricot, the extravagant fruit associated with sultans’ platters, and ruby red grapefruit are “dripping with nutrients,” she says. Geranium and lavender oils in the Face Elixir relax the wearer with every breath, almond oil “feels like velvet” as it strengthens and nourishes hair and skin, and attar from the rare Taifi rose intoxicates as it moisturizes.

“The fragrances enhance seasonal moods…. The ingredients come out of the earth this way, and blow me away with their beauty.”

What’s that, winter?

As a child in Cairo, Youssef Nabil was startled to realize that many of his favorite film stars were no longer alive. This revelation inspired him, later in life, to reach out to those performers who were still at large – and photography proved the ideal avenue to meet his heroes and heroines.

His hand-colored black-and-white prints, now on show at New York’s Yossi Milo Gallery, present ethereal, ageless depictions of Faten Hamama, Mona Hatoum and Omar Sharif. By photographing his idols with black-and-white film and adding facial tones and backgrounds in watercolor and pencil, Nabil makes surreal his otherwise familiar subjects. The technique renders the prints engrossingly perfect; they seem too smooth, too wrinkle-free and diffuse, to be real.

As well as elevating photographs into objects more akin to paintings than prints, Nabil’s technique connects his photos to the golden days of the Egyptian film industry, when starlets could sing, dance, and live forever on the silver screen.

Youssef Nabil, 4 November – 4 December at Yossi Milo Gallery, http://www.yossimilo.com

Pay tribute to your own favorite Middle Eastern icons with a clutch from Sarah’s Bag

How does travel influence you as an artist?
I caught the travel bug from my father. He instilled in me this curiosity about the outside world, taking me to museums all over Europe, attend shows at the Bolshoi ballet in Moscow, theater productions in London, and even bullfights in Madrid. It’s hard to not be engaged with the world when you are exposed to all of that from an early age.

What kind of challenges have you faced as a female artist practicing in Kuwait?
Great art tends to reflect the realities of a society, and as an artist that’s harder to capture in an environment where self-expression is frowned upon. Sometimes we spend our lives worrying about what others will think or say about us. But I realized I owed it to my children to be a positive role model for them. By allowing myself the freedom to pursue my own passion for art, I wanted to show them that they shouldn’t be afraid to go after their own dreams. In a sense I hope my work touches young women throughout Kuwait and the Arab world and makes them realize that “if she can do it, so can I.” ….Success is all the more meaningful when you’ve gone through a lot of obstacles.

What is the theme of your upcoming exhibit?
For the past year and a half, I’ve been exploring the polarities that exist in modern Arab culture, especially within the societies of the Arabian Gulf region. My “Society Girls” series explores the lives of women behind closed doors, and tries to capture the struggles and judgments they face should they choose to be “individuals” as opposed to “following the herd”. Middle Eastern society is very much geared towards being a part of the whole, and individuals who deviate from the norm tend to be labeled as outcasts. My paintings often depict women in a relaxed atmosphere where they can be themselves, and have no fear of being “outed.” Despite this, their faces and parts of their bodies are veiled by the Abbaya or the Niqab, alluding to the polar worlds in which they live.

What sort of reaction do you expect to get from your work?
In a sense my paintings are an ironic look at what constitutes “freedom” in the Middle East, and there is an element of sarcasm in dealing with the topic. As the artist, I don’t judge the subject so much as put it out there for audiences to make their own interpretations.

Why did you choose to exhibit at London’s Lahd Gallery?
The “Society Girls” series is an evolution of earlier works I had originally shown at the Gallery Tilal in Kuwait. One of the reasons I decided not to exhibit this new body of work in Kuwait, is because it more closely explores the link between sexuality and religion. The Lahd Gallery expressed an interest in the work, and after several emails we set up a meeting in London to discuss a possible show. They understood my vision and from there a collaboration was born.

How did the exhibit’s title come about?
I will be showing a selection of my paintings as part of a group exhibit, “Gulf Re-veiled,” at Lahd Gallery on October 21st. This will be followed by my solo show at the gallery, which I titled “The Bullet Series.” After completing each painting, I fired a Hornet bullet into a specific spot in each canvas. I used an M16 and had one chance to get it right! The whole process was documented and a short film will accompany the exhibition in London. I may even decide to give each buyer the actual bullet that was shot through the painting.

“The Bullet Series”
Lahd Gallery’s 92 Heath Street London Group Show “Gulf Re-veiled” October 21, 2010
Solo Show “The Bullet Series” February 24th 2011.

Images courtesy or Shurooq Amin and Sueraya Shaheen

How did you get involved with contemporary art from the Middle East?
In 1992, after completing a post-graduate diploma from the London School of Economics, I started an internship at Sotheby’s Islamic Department, and ended up working in various departments for 10 years. During that time, I researched and introduced modern Arab art to this department and organized the first ever auction of Arab art in 2001. I also became involved in Middle East client development at Sotheby’s, and helped organize several art talks and courses in Riyadh, Jeddah and Dubai, including an educational event at Dar el Hekma in Jeddah.

Can you describe the emerging art collector in the Middle East?
The local collectors are generally young, which reflects the majority of the region’s population. Although most are professionals such as bankers, accountants, and business leaders, we are also seeing a lot of interest from cultural institutions and museums.

What has been your career highlight, at least so far?
It was probably the first Bonhams auction I helped orchestrate in Dubai in March 2008, which at the time broke many world records. The auction not only achieved total sales of over $13 million, but was also the first time a work by a Middle Eastern artist sold at auction for over $1 million; with Iranian Farhad Moshiri’s stunning Swarovski crystals and glitter on canvas ‘Eshgh’ (Love). The auction proved beyond a doubt that the UAE is an emerging commercial hub for modern and contemporary art from the region.

Has the economic downturn affected the Middle Eastern art market?
Although the region has weathered the downturn and collectors are still enthusiastic, there is a positive side to this recession. During the boom years, both property and art prices soared to unrealistic levels; I think both were due for a reality check. The collectors are now much more selective and although we are seeing very high prices for some Arab artists, these are rare museum quality works. That is how it should be. I would welcome the return of the collector over the pure investor.

Do you see local artists gaining a presence on the International auction scene?
In terms of the UAE, Bonham’s has been taking the lead in featuring contemporary Emirati artists in its auction. However, the market and art ‘infrastructure’ is in its infancy. There are no established art schools (whereas countries like Iraq and Iran have schools going back nearly a century). I am not aware of scholarship programs where artists are sent abroad to well-established art institutions in the West or even to South Asia which has thriving art education. There are a lot of talented artists from Iran for example residing in the UAE, but there is no institution where they teach. Once the education side has been addressed, I think the quality of the art will emerge and with a history of exhibitions (which will take time) the local artists will be able to compete in the international arena.

Where do female artists figure into this equation?
Although male artists seem to dominate, auctions are definitely seeing an increase in the work of female artists from both the region and its diaspora, such as Shirin Neshat, Ghada Amer, and Mona Hatoum. It was these artists who actually made a stir on the international scene long before the Dubai auctions came into play…. There is also an increased appreciation of female ‘masters’ like Mounir Farmanfarmian (iranian) and Suad al Attar (Iraqi).

Do you think Middle Eastern Art has the power to change perceptions?
If anything, contemporary Middle Eastern art demonstrates the diversity found within the region. In the West there is a tendency to view the Arab world as one monolithic entity, as if it is the same culture and religion from Rabat to Baghdad. As we know that is not the case, and there has been a huge debate amongst curators about how we define the Middle East and role that the Diaspora plays in defining contemporary culture in the region. I think Middle Eastern art not only has the power to change the ‘Western’ mind set but the Arab world’s own perception regarding its own history, its language and its great past achievements. The region has to appreciate its own artists before we expect others to do so.

Image of Mehreen Rizvi-Khursheed by Sueraya Shaheen
All other images courtesy of Bonhams

Your work is centered around women. Who is the archetypal woman you keep in mind in your work?
I am not the first one to paint women.  Women are ubiquitous in the history of painting beginning with the Greeks…. I document the female in all her states: pregnancy, sadness, happiness, mother, dancing, contemplative mode. I emphasize the female aesthetically and I also highlight the erotic aspect of a woman. I use all the colors to paint my women. I tried to use each color to reflect the state that she is in.

What was your relationship with late Saudi writer Abdul Rahman Munif, who wrote a book about you?
Munif is the one who convinced me that the Arab intellectuals, artists, writers in diaspora should come back to the Arab world everyone now and then, so the people could get read and appreciate their work. I listened to him and I started frequenting the Arab world more, and I started having more exhibitions. Finally, Munif wrote a biography and a literary interpretation of my paintings called Jaber & The Music of Colors.

Can you tell us about your relationship with the late Syrian playwright Saadallah Wannous? Wannous has said, “The color of Jaber Alwan is like a dream that transforms the chemistry of the human body. A stream of rainbow colors and a stream of enchanting lights. An enigmatic talent that cannot stop creating!”
I used to attend his plays in Iraq in the sixties.  But, through my trips to Damascus, I developed a strong friendship with him. I spent so much time with him during his last days, while he was ill. While sitting next to him, I used to paint paintings based on his plays especially his play Transformations.

While he was sick, he used to read my paintings he said, “your paintings alter my body chemistry.” Then, I used to only want to paint for the sake of Saadallah. Before he passed a while, he wrote an exquisite preface for one of my catalogs.

You have painted in Baghdad, Rome, Cairo, and Damascus… are you an art nomad? What draws you to each of these cities?
I studied art in Baghdad.  I painted there for a little, but I immigrated to Rome at a very early age. Rome and Italy embraced me in many different ways. I was able to invent myself as an artist, say, and sharpen my artistic acumen.  However, I did not restrict myself to painting in Rome. I traveled to many other cities where I painted. The paintings were different from one city to another because of the change of the environment, the light and the colors. Painting in London, Cairo, Beirut, and Damascus allowed me to have a completely different perspective where I was able to document and capture the human condition in those paintings.

Thank you very much for speaking with us.

http://www.jaberalwan.com/

Your background is Armenian and you were born in Kamachli, Syria, and studied art in Armenia. How do your Armenian and Arab heritages influence your art?

Especially now that I am so far from both Syria and Armenia, I find myself all the more influenced by the landscapes and aesthetic cultures of my origins.  I find direct inspiration in the art of the Armenian miniature and in the Arabic calligraphic arts.  I think that my sense of color is also linked to my heritage—the vivid colors of the Armenian miniatures, but also the ochre and more muted hues of the Syrian landscape.

And without being overtly so, my art has become more political with time, (since even just being of Middle Eastern culture in the United States has become politicized in the last decade.)  I grew up writing both from right to left and from left to right, and I feel that symbolizes the way I have been able to see the world from different perspectives, which I try to express in my art.  If you look deeply, my art is often speaking of tolerance and intolerance, the need to look to the past, the desecration of nature, and the injustices of this modern society.

You perform live onstage with musicians, painting as they play. How did this art form originate?
I call my performances with musicians—in which I create art, mostly live, which is projected on a screen—live visuals.  I started doing this with a friend in Armenia 15 years ago, and it has developed since then.  The idea came out of the style of painting that I developed for myself in which I paint using a tube of paint to create lines, which I smear into the forms that my inspiration and the paper dictate.  In California, where I first lived when I came to the United States, I was dubbed, “The Fastest Draw in the West”, because no one had seen images created so quickly.  It’s a personal technique that is well-suited to the form of art as a live performance.

In the past, we’ve seen you work on the Gilgamesh Project with Syrian composer and musician Kinan Azmeh. How did that idea come into being? What was it like working with Azmeh?
I love collaborating with Kinan.  We have similar values, ideas and spontaneity, and it’s always very exciting to work together.   The Gilgamesh project came to us as our response to the Iraq war.  We wanted to show the wealth of the culture that was being destroyed, a culture that boasts the oldest epic committed to writing.  Gilgamesh is a beautiful, riveting, complicated story, and it was the perfect subject for us to work on together.

And the Silk Road Project—how did that come about? What was your experience like with Yo-Yo Ma?
The Silk Road Project was created by the famous cellist, Yo-Yo Ma, to connect different cultures through art.  Fascinated by the history of the Silk Road, Yo-Yo Ma and his collaborators pulled together a number of talented musicians and artists from countries all along the Silk Road to compose new works and re-interpret old ones using unorthodox but thought-provoking and beautiful combinations of instruments.  Yo-Yo Ma is extraordinarily generous as an artist and as a human being, and it is the biggest honor to be able to work with him.

How are you finding life in New York? Any exciting performances coming up?
I live in New York and just finished my first theatrical collaboration with my wife, an actress and singer, at the renowned New York International Fringe Festival.  In November I will be working with Rami and Bachar Khalife, the incredible pianist and percussionist, at the Festival du Monde Arabe de Montréal.  I will also soon be working with the incredible Colin and Eric Jacobsen, (violinist and cellist with the Silk Road Ensemble, the Knights, and Brooklyn Rider,) and the dancer Maile Okamura of the Mark Morris Company, on a project we will perform at the Metropolitan Museum of Art.  I have other projects under way, but it’s too early to talk about them…

Finally, how do you continue reinventing yourself? What reinvigorates you?
I re-invent myself by testing the limits of what I can do.  The play I just did was an example of that—working with a live actor, with my art as a character…  Most importantly, I will purposely destroy what comes out most easily, and I will periodically take short breaks from painting (to concentrate on performing, for example,) in order to examine my own work from a different angle, to figure out if it’s satisfying my own needs as an artist.

http://www.kevorkmourad.com/KM/Home.html