Fares THABET

Until a few years ago, I maintained a daily practice in ceramics a ritual that allowed me to explore clay not only as a material, but as a surface for painting, composition, and visual rhythm. My relationship with ceramics has always been deeply pictorial. I approach it as I would a canvas : thinking not only in terms of volume and texture, but also in planes, colours, and the possibilities of two-dimensional expression. From this perspective, the idea of a ceramic fresco emerged quite naturally: to treat the wall itself as a blank canvas, gradually composing a landscape across it, one gesture at a time. This mural was born from observation , from the silent geometry of the desert. Its forms, both literal and abstract, began to find echoes in clay. A palm leaf, for instance, might dissolve into a new vegetal motif. A curve of ceramic might follow the swell of a dune. A single yellow triangle may whisper of a pyramid but placed beside others, it shifts, suggesting the trunk of a palm, or the rhythm of desert architecture

In this way, each ceramic element becomes a part of an ongoing dialogue. Shapes respond to one another, colours unfold across the surface like drifting wind, and the entire wall begins to pulse with movement , not unlike a living landscape. This work is a meditation on translation: of landscape into language, of earth into image, of structure into sensation. It is an attempt to let the material speak, and to follow where it leads.